Relevant bibliographies by topics / Modern painting - Spain

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Modern painting - Spain'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Modern painting - Spain"

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Vitagliano, Maria A. "Painting and Poetry in Early Modern Spain: The Primacy of VenetianColorein Góngora’sPolyphemusandThe Solitudes*." Renaissance Quarterly 66, no. 3 (2013): 904–36. http://dx.doi.org/10.1086/673586.

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AbstractLuis de Góngora’sFable of Polyphemus and Galatea(1612) andThe Solitudes(1613) have inspired comparisons to painting ever since they first appeared in manuscript form at the Court of Philip III. Engaging the doctrine ofut pictura poesis, which notes the kinship between painting and poetry, Góngora creates pictorial conceits modeled in color as if using a painter’s palette, and thus his poems read like imaginary art galleries. By way of both plastic and discursive references to the Venetian school, Góngora inserts his poetry into one of the most salient polemics of his time, theparagone
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Cline, Sarah. "Guadalupe and the Castas." Mexican Studies/Estudios Mexicanos 31, no. 2 (2015): 218–47. http://dx.doi.org/10.1525/mex.2015.31.2.218.

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A mid-eighteenth-century casta painting by Luis de Mena uniquely unites the image of the Virgin of Guadalupe and casta (mixed-race) groupings, along with scenes of everyday life in Mexico, and the natural abundance of New Spain. Reproduced multiple times, the painting has not been systematically analyzed. This article explores individual elements in their colonial context and the potential meanings of the painting in the modern era. Una pintura de Luis de Mena sobre las castas, de mediados del siglo xviii, reúne de manera singular la imagen de la Virgen de Guadalupe, los agrupamientos de casta
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White, Noel. "Time in the Aesthetic Dimension of Visual Art." KronoScope 8, no. 1 (2008): 29–39. http://dx.doi.org/10.1163/156852408x323201.

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AbstractIn the spring of 2006 the English artist Noel White met the author J.T. Fraser while staying with friends near Cordoba, Spain. Lively discussion arose between them prompted by a reading of a paper by the social scientist Barbara Adam, which argues for the recognition of a moral dimension in political decisions. What follows here is an essay based on their conversation. The essay does not comment directly on Adam's arguments, but extends the question of the moral dimension to White's own area of expertise, the visual arts. Through an analysis of aspects of the history of modern painting
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Galperín, Karina. "The passion according to Berruguete: painting theAuto-da-féand the establishment of the inquisition in early modern Spain." Journal of Spanish Cultural Studies 14, no. 4 (2013): 315–47. http://dx.doi.org/10.1080/14636204.2013.916028.

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Lychkovakh, V. A. "PHILOSOPHY OF ETHNOCULTURE – ЕТНNОCULTUROLOGY – ЕТНNОCULTUROGRAPHY". UKRAINIAN CULTURAL STUDIES, № 1 (2) (2018): 20–25. http://dx.doi.org/10.17721/ucs.2018.1(2).04.

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The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and valu
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Gas Barrachina, Silvia. "Revisión de la figura femenina en la España Moderna a través de su representación en la pintura = Review of the female figure in Modern Spain through her representation in painting." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (2018): 49. http://dx.doi.org/10.20318/femeris.2018.4073.

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Resumen. El arte, en este caso la pintura, constituye una fuente histórica que permite el estudio de la situación de las mujeres en determinados contextos históricos. Ninguna obra es creada de forma inocente, sino que está condicionada por la mirada de la persona que la produce. La pintura, en su dimensión vitalista, comprende una respuesta estética a una realidad en la que infieren de forma consciente o inconsciente la identidad del artista, así como el espacio político, social y económico en el que se desarrolla. De la misma forma ocurre con la repetición de temáticas y modelos de representa
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Valladas, Hélène, Edwige Pons-Branchu, Jean Pascal Dumoulin, Anita Quiles, José L. Sanchidrián, and Maria Ángeles Medina-Alcaide. "U/Th and 14C Crossdating of Parietal Calcite Deposits: Application to Nerja Cave (Andalusia, Spain) and Future Perspectives." Radiocarbon 59, no. 6 (2017): 1955–67. http://dx.doi.org/10.1017/rdc.2017.120.

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Abstract14C and U/Th methods were used to date three thin carbonate layers deposited on decorated walls of Nerja Cave (Malaga, southern Spain) in order to constrain the age of the parietal non-figurative marks situated under these carbonate layers. Modern formations were also dated to estimate the detritic contribution for the U/Th method and the dead carbon proportion for 14C dating. We sampled two locations with ocher painting marks. In one case (mark 1), the good agreement between the ages obtained by the two methods suggests that the sample was not subjected to post-deposition alteration a
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Pittarello, Elide. "Ramón Gaya: "Creo que soy poeta pintando"." Monteagudo, no. 26 (March 12, 2021): 191–208. http://dx.doi.org/10.6018/monteagudo.472781.

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Simónides de Ceos, que definió la poesía una pintura que habla y la pintura una poesía muda, contribuyó al origen de la filosofía del arte, base de la moderna estética occidental. Para el filósofo italiano Benedetto Croce el arte es la síntesis estética de la intuición y la expresión a través del lenguaje lírico. Encarna las representaciones de la belleza, un evento universal, ajeno a la Historia y a la crítica de arte. De manera más radical, Ramón Gaya rechazó este mismo saber de una manera más radical desde que era un jovencísimo pintor, decepcionado por las vanguardias. Su planteamiento de
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Setem, I. Wayan. "Intercultural Balinese Painting from the Classic to the Modern." Mudra Jurnal Seni Budaya 25, no. 3 (2010): 246–57. http://dx.doi.org/10.31091/mudra.v25i3.1561.

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 This article examines the representation mode painting like a change parallel to the profound transformation of the technical or theoretical knowledge, and also parallel to changes in the Balinese society values due to the physical evolution and the evolution of the system of values. In fact, within one century of painting it has been like moving from the classical, traditional, standard, homogeneous, local, and collectively turned into a painting that has been varied, heterogeneous, individual, and internationally with a modern twist. These waves of change occurred in the
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Filipek, Małgorzata. "Hiszpania w Dziennikach z podróży Miodraga Popovicia." Slavica Wratislaviensia 166 (June 22, 2018): 49–67. http://dx.doi.org/10.19195/0137-1150.166.4.

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Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museum
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Dissertations / Theses on the topic "Modern painting - Spain"

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Gutiez, Maximiliano Francisco. "Máscara e medo : representação e alegoria em Tipos do mar de Evaristo Valle." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283947.

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Orientador: Maria de Fátima Morethy Couto<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T19:05:53Z (GMT). No. of bitstreams: 1 Gutiez_MaximilianoFrancisco_D.pdf: 19234810 bytes, checksum: bcadca28683783c8ac13edef59f58baf (MD5) Previous issue date: 2010<br>Resumo: O pintor asturiano Evaristo Valle (1873-1951) participa da primeira fase do modernismo espanhol, período em que convive com os intelectuais e artistas da chamada Geração do 98 que tematizam uma Espanha derrubada: após o esfacelamento do seu império colonial, o ab
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Books on the topic "Modern painting - Spain"

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Jonathan, Brown. The Golden Age of painting in Spain. Yale University Press, 1991.

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Tomlinson, Janis. Painting in Spain: El Greco to Goya. G. Weidenfeld & Nicholson, 1997.

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Painting in Spain: 1500-1700. Yale University Press, 1998.

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Painting in Spain: El Greco to Goya, 1561-1828. G. Weidenfeld & Nicolson, 1997.

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Helston, Michael. Painting in Spain during the later eighteenth century. National Gallery, 1989.

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Barcelona (Spain). Museo de Arte Moderno. Catàleg de pintura segles XIX i XX: Fons del Museu d'Art Modern. Ajuntament de Barcelona, 1987.

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From El Greco to Goya: Painting in Spain, 1561-1828. H.N. Abrams, 1997.

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Serraller, F. Calvo. Paisajes de luz y muerte: La pintura española del 98. Tusquets, 1998.

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Carmen, Gracia Beneyto. Valencian painters, 1860-1936: From the collection of the Diputación de Valencia = Pintores valencianos, 1860-1936 : de la colección de la Diputación de Valencia. Diputació de Valencia, 1992.

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Carmen, Gracia Beneyto. Valencian painters, 1860-1936: From the collection of the Diputación de Valencia. Diputació de València, Colze a Colze amb els Ajuntaments, 1992.

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Book chapters on the topic "Modern painting - Spain"

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Martínez, José Martín. "Painting and sculpture in modern Spain." In The Cambridge Companion to Modern Spanish Culture. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol0521574080.018.

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Courts, Jennifer. "Caterina van Hemessen in the Habsburg Court of Mary of Hungary." In Women Artists in the Early Modern Courts of Europe. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988194_ch03.

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Jennifer Courts considers the career of Caterina van Hemessen, a portraitist and a member of the court of Mary of Hungary. Her virtues as a painter were praised by contemporaries, and she is recognized by modern scholars for her artistic innovation; yet signed paintings by the artist ceased at approximately the same time she entered courtly service. Rather than viewing painting as the pinnacle of her career, the author argues that Caterina’s artistic output served as a means of social mobility. The author also suggests that van Hemessen’s activities created opportunities for subsequent artists, notably Sofonisba Anguissola, who arrived at the Habsburg court in Spain after shortly after van Hemessen’s departure in 1558.
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Guzmán, Miguel Taín. "Some Spanish Paintings in Florentine Collections." In Artistic Circulation between Early Modern Spain and Italy. Routledge, 2020. http://dx.doi.org/10.4324/9780429467936-11.

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"Paintings of the Education of the Virgin Mary and the Lives of Girls in Early Modern Spain." In The Formation of the Child in Early Modern Spain. Routledge, 2016. http://dx.doi.org/10.4324/9781315558042-10.

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Majgaard, Gunver. "Teaching Design of Emerging Embodied Technologies." In Advances in Human and Social Aspects of Technology. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6228-5.ch011.

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How does design of emerging embodied technologies enrich the HCI learning processes? The authors introduce a model for embodied interaction and use it in the development of a painting app for children based on the motion sensor Asus Xtion Pro (similar to Kinect). The development of the app was part of a HCI course for engineering students. The motion sensor was interesting as a design tool, because it appealed to full body interaction. The development exemplified and unfolded the embodied elements: multiple modalities, physical, bodily, social, and symbolic interaction in a situated environment. Subsequently, the authors introduce a physical-digital toolbox, illustrating the span of parameters within the model for embodied interaction: robot technology, tangibles, wearables, interactive surroundings, and bigger objects.
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Conference papers on the topic "Modern painting - Spain"

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Chueh, Juyu, Ajay K. Wakhloo, and Matthew J. Gounis. "An Innovative Method to Construct Silicone Cerebrovascular Replicas." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192642.

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Our objective is to create cerebrovascular replicas that offer detailed geometry from clinical imaging data and have versatile applications such as testing new endovascular devices. To facilitate optical observation, simulate physiological environment and obtain reliable data, the replica is designed to be transparent and elastic with uniform thickness and good compatibility with imaging modalities such as computed tomography (CT), magnetic resonance imaging (MRI) and three-dimensional rotational angiography (3DRA). Several different manufacturing processes have been demonstrated in previous s
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