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Journal articles on the topic 'History of art, 19th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Herucová, Marta. "Case Studies in the 19th Century History of Art." Acta Historiae Artium 49, no. 1 (2008): 351–59. http://dx.doi.org/10.1556/ahista.49.2008.1.38.

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2

Tawadros, Çeylan. "Foreign bodies: Art history and the discourse of 19th‐century orientalist art." Third Text 2, no. 3-4 (1988): 51–67. http://dx.doi.org/10.1080/09528828808576189.

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3

Peckhaus, Volker. "19th Century Logic Between Philosophy and Mathematics." Bulletin of Symbolic Logic 5, no. 4 (1999): 433–50. http://dx.doi.org/10.2307/421117.

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AbstractThe history of modern logic is usually written as the history of mathematical or, more general, symbolic logic. As such it was created by mathematicians. Not regarding its anticipations in Scholastic logic and in the rationalistic era, its continuous development began with George Boole's The Mathematical Analysis of Logic of 1847, and it became a mathematical subdiscipline in the early 20th century. This style of presentation cuts off one eminent line of development, the philosophical development of logic, although logic is evidently one of the basic disciplines of philosophy. One need

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Arutynyan, A. A. "German history of art of 19th century and problems of Armenian Medieval heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 147–50. http://dx.doi.org/10.30725/2619-0303-2017-2-147-150.

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The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

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5

Neset, Arne. "Rowing in Eden: Waterscapes in 19th Century American Art and Literature." American Studies in Scandinavia 30, no. 1 (1998): 1–16. http://dx.doi.org/10.22439/asca.v30i1.1114.

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6

Green, Nile. "Technologies of the Image: Art in 19th-Century Iran." Iranian Studies 51, no. 5 (2018): 795–99. http://dx.doi.org/10.1080/00210862.2018.1488390.

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7

Tena Ramírez, Carmen de. "Precedentes de la institucionalización de la Historia del Arte en España: los estudios histórico-artísticos en el siglo XIX = Precedents of the institutionalisation of Art History in Spain: Historical and artistic studies in the 19th century." REVISTA DE HISTORIOGRAFÍA (RevHisto) 31 (September 23, 2019): 253. http://dx.doi.org/10.20318/revhisto.2019.4882.

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Resumen: El objetivo de este artículo es ofrecer una visión general acerca de los estudios histórico-artísticos realizados y publicados en España a lo largo del siglo XIX, así como poner de manifiesto que estos trabajos dieron base y fundamento a la posterior institucionalización de la Historia del Arte en la universidad española a comienzos de la centuria siguiente. Comenzamos nuestro texto con un estado de la cuestión para subrayar la necesidad de acometer esta clase de estudios; seguidamente exponemos una amplia perspectiva diacrónica sobre las circunstancias históricas que rodearon la prác

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Baptista, Sofia. "O Que Pode “O Médico” de Sir L. Fildes Dizer-nos Hoje." Acta Médica Portuguesa 28, no. 4 (2015): 540. http://dx.doi.org/10.20344/amp.6743.

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Karstein, Uta. "Konkurrenzbeziehungen: Allgemeine und konfessionelle Kunstvereine im Kunstfeld des 19. Jahrhunderts." Internationales Archiv für Sozialgeschichte der deutschen Literatur 45, no. 2 (2020): 334–44. http://dx.doi.org/10.1515/iasl-2020-0019.

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AbstractThe article compares secular and faith-based art societies in the 19th century. Of special interest are the societies’ missions and purposes, as well as their activities and organizational structures. The main thesis is based on the work of German sociologist Georg Simmel and his conflict theory. I argue that the competition of these societies had invigorating effects on the field of art and its institutionalization in the course of the 19th century.

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Smith, Karen Manners. "Exhibit Review: Angels and Tomboys: Girlhood in 19th-Century American Art." Public Historian 36, no. 1 (2014): 123–27. http://dx.doi.org/10.1525/tph.2014.36.1.123.

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11

Cuypers, Constant. "A computerised compilation of contemporary art at Dutch exhibitions in the 19th century (CADENS)." Art Libraries Journal 12, no. 1 (1987): 42–44. http://dx.doi.org/10.1017/s0307472200005058.

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CADENS is a project based at the Institute of Art History at the University of Nijmegen. The intention is to provide comprehensive access to information on contemporary art contained in all Dutch 19th century art exhibition catalogues, by means of a computer database. Two publications, a directory of artists and a keyword index, are envisaged.

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Gerasimov, A. P., and T. V. Biryukova. "INTERIOR OF ART NOUVEAU ARCHITECTURE IN SIBERIA." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, no. 2 (April 29, 2019): 102–12. http://dx.doi.org/10.31675/1607-1859-2019-21-2-102-112.

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The article discusses the development of the interior in private and public buildings in Russia late in the 19th and early 20th centuries. Romantic trends that emerged in architecture Western Europe in the 19th century turned into the new style expressed in modernity, which fundamentally differs from the historical repetition in architecture of the early period. This article is an interdisciplinary work and describes such arts as architecture, painting, and decorative and applied arts. The main feature of modernity is the internal space, subordinating the interior to the exterior, its graphic

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13

Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.

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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixei

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Sinem Kucuk, Kamile. "The Sociocultural Aspects of Merchant Class in the Light of Russian Painting Art." European Journal of Multidisciplinary Studies 2, no. 1 (2016): 81. http://dx.doi.org/10.26417/ejms.v2i1.p81-85.

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The merchant class, which contributed to the improvement of Russia, evolved due to politicial reforms. Especially in 1861 the emancipation reform of the Russian serfs caused social and culturel changes in the life of merchants. In 19th and early 20th century, the works of Russian genre painters P.A. Fedetov, A.P. Ryabushkin, V.G. Perov, F. Juravlev and B.M. Kustodiyev not only reflected the social situation and stereotypes of merchants, but also revealed cultural history of the mentioned class. In this paper it is aimed to disclose the evolution of merchant class in 19th and the early 20th cen

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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.

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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The resea

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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe ex

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Hatheway, Holly, Roger Lawson, and Charlotte Oertel. "The Digital Cicognara Library: transforming a 19th century resource for the digital age." Art Libraries Journal 45, no. 2 (2020): 47–54. http://dx.doi.org/10.1017/alj.2020.2.

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The Digital Cicognara Library is an international initiative to recreate in digital form the private book collection of Count Leopoldo Cicognara (1767–1834). His collection of five thousand early imprints comprises foundational literature of art and archaeology, and includes a diverse range of publications in all areas of the visual arts. Our partnership's 21st- century effort advances Cicognara's Enlightenment-era ideals by making digital copies of his library available through an open access web application, where they will be fully searchable from a centralized database as well as relevant

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Martins, Luciana. "Skin, paper, tiles: A cross-cultural history of Kadiwéu art." Journal of Material Culture 23, no. 3 (2018): 344–67. http://dx.doi.org/10.1177/1359183518782713.

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This article focuses on the global traffic in images relating to Kadiwéu culture in South America, analysing the extent to which they are entangled in the group’s continuing sense of presence. It begins with Kadiwéu designs as they appeared in the sketchbook of the artist–explorer Guido Boggiani in the late 19th century. It then explores the mapping of Kadiwéu territory and the practices and protocols informing a politics of land rights, cultural property and economic survival, looking in particular at the commissioning of Kadiwéu designs for a housing estate and an associated exhibition in Be

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19

Moore, Daniel. "Editor's Introduction: Modernism, Aesthetics, Historiography." Modernist Cultures 3, no. 2 (2008): 94–99. http://dx.doi.org/10.3366/e2041102209000355.

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Aesthetics is the reflexive construction of the concepts necessary for the comprehension of the stakes and meaning of art in the light of the history of the dominant art of the second half of the 19th century and the first half of the 20th century: modernism. The task of aesthetics is to vindicate modernist art's own claim to mattering, to being significant, indeed unavoidable, for our collective selfunderstanding of ourselves as denizens of modernity. (J. M. Bernstein)

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Solpera, Jan. "The Typography of the Landfras Printing Works." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 71–80. http://dx.doi.org/10.2478/amnpsc-2018-0010.

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The article focuses on the typefaces used in the Landfras printing works in Jindřichův Hradec throughout the 19th century. The production of this printing works reflected the transformation of the printing craft workshop into an industrial enterprise. In the history of the development of the typeface, the 19th century is the most interesting period. At its beginning, the transformation of the dynamic Renaissance Antiqua into the rational Classicist Antiqua was completed. In the next years, typographic font was used not only for education but more and more for advertisements. Roughly from the m

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Ozola, Silvija. "ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 653–79. http://dx.doi.org/10.17770/sie2021vol4.6203.

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Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical i

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22

Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.

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in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same tim

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23

Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.

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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, cultu

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Shevtsov, N. V. "Magazine «Otechestvennye Zapiski » in the History of Russian Culture of the 19th Century." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 132–42. http://dx.doi.org/10.24833/2541-8831-2019-3-11-132-142.

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The literary magazine «Otechestvennye Zapiski» legitimately belongs to the realm of the most known and reputable periodicals in the history of Russian journalism. Its publishers did everything possible to refine the journalistic style of its content and to turn each issue or, a book, as they used to call them, into high-quality classical thick literary magazines. The magazine published articles and stories of various genres. All of them stood out in terms of the high-quality writing. Both, up-and-coming and established authors dreamed of a publication there. At the same time, all of them reali

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Schmidt, Victor. "Dutch art bibliographies." Art Libraries Journal 11, no. 1 (1986): 30–31. http://dx.doi.org/10.1017/s0307472200004491.

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The most important bibliography for Dutch art is the Bibliography of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie). This bibliography, first published in 1943, is in fact a continuation in another form of H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder - en graveerkunst sedert het begin van de 12de eeuw tot het eind van 1932 (Repertory for the history of Dutch painting and engraving since the beginning of the 12th century up till the end of 1932), The Hague 1936 (Vol.2: 1933-1946 appeared in 1949). The last volume published,

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Eşanu, Octavian, and Angela Harutyunyan. "Introduction: Art Periodicals Today, Historically Considered." ARTMargins 5, no. 3 (2016): 3–10. http://dx.doi.org/10.1162/artm_e_00155.

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The Introduction to the Special Issue entitled Art Periodicals, Historically Considered sketches an outline of the advent of periodicals in the context of the Enlightenment demand for the public use of reason, and situates the emergence of art periodicals in the context of the advent of autonomous art since the 19th century. The article introduces the contributions to the Special Issue and opens up a way to reposition the question of critique in today's art publishing.

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Aditya, Christian. "CONSTRUCTING THE VISUAL LANGUAGE OF 19TH CENTURY CELEBES SEA REGION MARITIME CULTURE THROUGH CONCEPT ART." Ultimart: Jurnal Komunikasi Visual 13, no. 1 (2020): 9–15. http://dx.doi.org/10.31937/ultimart.v13i1.1552.

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In order to create a believable world for the animated content. Concept art for the animation are created through the process of studying literatures about Celebes Sea maritime history and field observation on Celebes Sea region. In this paper, the concept art being discussed is limited to the environment of the animated world along with some of Its property such as houses and boat, however there are minimum visual data on related literature and unmaintained artifacts / model from field observation. There- fore, visual language has to be decoded through historical text in the literature and al

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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.

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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.

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Jeffery, J. V. "The Varley family: engineers and artists." Notes and Records of the Royal Society of London 51, no. 2 (1997): 263–79. http://dx.doi.org/10.1098/rsnr.1997.0022.

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In June 1871, at the age of 43, Cromwell Fleetwood Varley was elected a Fellow of the Royal Society. In May of the same year Varley and three of his brothers were four of the sixty–six original members who together formed the Society of Telegraph Engineers, the organization that was the forerunner of today's Institution of Electrical Engineers. During the second half of the 19th century the four Varley brothers contributed in no small measure to the developing telegraph and electrical industries in Britain. During the first half of the 19th century Varleys of the previous generation made an eq

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Howat, Marjory M. "19th-century Perth newspapers indexed and abstracted." Indexer: The International Journal of Indexing: Volume 18, Issue 1 18, no. 1 (1992): 16–18. http://dx.doi.org/10.3828/indexer.1992.18.1.7.

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Describes the indexing and abstracting of three 19th-century newspapers of Perth, Scotland, including problems of organizing volunteers, dealing with local history material, and selection policy for headings.

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Bogumil, Tatiana. "Biblical Plots in the Siberian Text." Проблемы исторической поэтики 18, no. 4 (2020): 331–47. http://dx.doi.org/10.15393/j9.art.2020.8742.

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The article describes and systematizes biblical plots characteristic of the Siberian text in Russian culture. The colonization of Siberia was accompanied by the Christianization of its autochthons. The influence of the church on the formation of the local literary tradition was very strong. The regional specifics of Siberia (nature, history, ethnos) influenced the selection of biblical motifs and plots in the works about this space. The comparative approach made it possible to identify and chronologically organize the following biblical themes paradigmatic for the Siberian text: apostolic / mi

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Mashkhura Adilzhanovna Darmonova. "Khorezm school of calligraphy and its representatives." International Journal on Integrated Education 3, no. 9 (2020): 272–77. http://dx.doi.org/10.31149/ijie.v3i9.928.

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The formation of the Khorezm school of calligraphy has a long history, and in the 16th century, schools of calligraphy and writing were formed in the palace libraries of the rulers. Since the beginning of the 18th century, the art of calligraphy has developed as an independent school. The article describes the school of calligraphy that developed in Khorezm at the beginning of the 19th-20th centuries, as well as the life and spiritual heritage of its representatives.

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Ziarkowski, Dominik. "Guidebooks in the context of the development of knowledge about art in the ‘Polish lands’ of the 19th century." Turyzm/Tourism 29, no. 1 (2019): 83–96. http://dx.doi.org/10.2478/tour-2019-0009.

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Former guidebooks are an important category of historical source that allows for the reconstruction of many aspects of the history of tourism. The dynamic development of guidebook literature began in the 19th century when a modern type with descriptions according to routes and containing much practical information was developed. The guidebooks also presented a lot of other information of a general nature, such as geography, ethnology, natural science, as well as descriptions of monuments and works of art. The importance of Polish guidebooks for writing about art is very high yet underestimated

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Luhovska, Anna. "Ontological Foundations of Conceptualization of Art Institutions." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 171–76. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235252.

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The article describes the stages of formation and the main reasons for the transformation of the current art institutional system. Its characteristics, conventional to Europe at the end of the 18th century, became common to most countries by the second half of the 19th century. Globalization processes that accompany the entire history of the previous century are the key factor of the rapid changes in society, including the art sphere. The role of global economic changes with the orientation on the society of consumption, on the growing importance of art market, commercialization of culture in

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Portnova, Irina V. "Russian Animalism in Relation to Other Genres of Fine Art in the History of Russian Culture of the 18th—19th Centuries." Observatory of Culture 17, no. 6 (2021): 606–15. http://dx.doi.org/10.25281/2072-3156-2020-17-6-606-615.

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The article deals with the historical-cultural topic of relations of the Russian animalism with other genres of fine art of the 18th and 19th centuries. When the features of animalistic art were identified as a peculiar and characteristic phenomenon open to interaction, animalism became an original page of Russian culture. The author refers to this topic in connection with the small number of complex studies in the field of animalism. The purpose of the article is to consider the specific features of animalism, as a characteristic original phenomenon of Russian artistic culture, in the context

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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations o

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Darasz, Zdzisław. "Plakat polityczny w chorwackiej ikonosferze." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 283–89. http://dx.doi.org/10.14746/pss.2020.18.17.

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The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From m

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Stern, Arden. "Freaks of Fancy, Revisited: Nineteenth-Century Ornamented Typography in the Twenty-First Century." Design Issues 32, no. 4 (2016): 76–90. http://dx.doi.org/10.1162/desi_a_00418.

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This article offers a historical analysis of 21st-century American engagements with 19th-century ornamented typography, demonstrating how this form of historicist practice constructs purposeful continuities between past and present by aligning 19th- and 21st-century modes of production. These alignments, balanced on fraught cultural divisions between handmade/machine-made and authentic/artificial, are resolutely ahistorical yet speak volumes about the dynamics of information capitalism, deindustrialization, and recession in recent US history. The analysis focuses upon two genres of neo-19th-ce

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Tarasova, Maria, та Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА". Social Anthropology of Siberia 2, № 1 (2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.

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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts o

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Chernyaeva, Irina V., and Lidiya V. Balakhnina. "On the issue of pricing works of art in the process of historical development of artistic practices." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 321–29. http://dx.doi.org/10.37816/2073-9567-2021-59-321-329.

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In modern art practice, the issue of formation of symbolic and economic value of works of art remains acute and relevant. In the history of art art historians, curators, and art critics used to determine symbolic value. The issue of formation of economic value of works of art is still debatable. The task of the study is to identify features of the pricing of works of art inherent in individual periods of the development of artistic practices in a historical context. The authors address the issue retrospectively, considering the relationships between art and market, originated in the 18th centu

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Garczewska-Semka, Katarzyna. "The Outline of the History of Mounting Art on Paper in Poland in the 19th and 20th Centuries." Restaurator. International Journal for the Preservation of Library and Archival Material 40, no. 3-4 (2019): 173–95. http://dx.doi.org/10.1515/res-2019-0013.

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Abstract The National Library of Poland holds three historical collections with a unified visual form. The arrangement of the Wilanów collection was carried out in the first half of the nineteenth century, whereas the Krasiński collection was arranged in the early twentieth century respectively the 1950’s or 1960’s in the case of drawings by Norwid. This contribution describes the structure of mountings found in these collections, as well as the historical context in which they were created. It serves as a starting point to provide an outline of the history of conservation methods and preserva

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Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.

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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, ins

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Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated momen

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Jolliffe, Lee. "Women's Magazines in the 19th Century." Journal of Popular Culture 27, no. 4 (1994): 125–40. http://dx.doi.org/10.1111/j.0022-3840.1994.2704_125.x.

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Haut, Judith E. "Folklore in the Classroom: 19th-Century Roots, 20th-Century Perspectives." Western Folklore 50, no. 1 (1991): 65. http://dx.doi.org/10.2307/1499398.

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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.

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The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from t

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Tvedebrink, Tenna Doktor Olsen, and Nini Camilla Bagger. "The Chairs of Venice Applying Storytelling as Teaching Method to Understand Material Cultural Heritage." Res Mobilis 9, no. 11 (2020): 124–47. http://dx.doi.org/10.17811/rm.9.11.2020.124-147.

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To understand the present and prepare for the future, we must remember our past. - And as indicated with the writings of 19th century English art critic and writer, John Ruskin; material cultural heritage holds an important lesson and plays an ethical role in establishing such a remembrance. With this paper, we discuss examples of implementing storytelling as a creative-explorative teaching method to critically reflect on- and develop the awareness and understanding of material cultural heritage among students from disciplines of Art History, Architecture, and Design. Our examples stem from a

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Martarosa, Martarosa. "THE HISTORY AND DEVELOPMENT OF GAMAT MUSIC AS A PROTOTYPE OF BANDAR ART IN THE WEST SUMATERA COASTAL AREA (PESISIR)." Jurnal Humaniora 28, no. 1 (2016): 69. http://dx.doi.org/10.22146/jh.v28i1.11503.

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At the end of the 19th century and the beginning of 20th century, the city of Padang has been dubbed the metropolis of the island of Sumatera. This is because the population of the Europeans who live there is relatively higher than other cities in Sumatera. An influence of this condition appears to be the phenomenon of Western-style music which was introduced to the indigenous peoples (Bandar natives). The appropriation of this musical style from various cultures such as of Portuguese (European), Malay and Minangkabau eventually became known as Gamat. Nowadays, the well-known Gamat is part of

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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.

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The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu b

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Santilli, Daniel. "Two centuries of inequality: What do we know? A partial state of the art in 19th century from History." Quinto Sol 23, no. 2 (2019): 1–27. http://dx.doi.org/10.19137/qs.v23i2.2704.

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