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Journal articles on the topic 'Northern renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

James, Sara Nair, and Jeffrey Chipps Smith. "The Northern Renaissance." Sixteenth Century Journal 36, no. 4 (2005): 1207. http://dx.doi.org/10.2307/20477664.

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2

Lawrence, Christopher. "A northern renaissance." Lancet 360, no. 9340 (2002): 1180. http://dx.doi.org/10.1016/s0140-6736(02)11231-1.

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3

Cambridge, Matt. "NORTHERN RENAISSANCE ART." Art Book 12, no. 2 (2005): 37–38. http://dx.doi.org/10.1111/j.1467-8357.2005.00536.x.

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4

Ashdown, Jan. "Northern Theatre: Whose Renaissance?" Irish Review (1986-), no. 7 (1989): 52. http://dx.doi.org/10.2307/29735469.

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5

Thurston, Michael. "Northern Ireland's Poetic Renaissance." Contemporary Literature 49, no. 1 (2008): 141–44. http://dx.doi.org/10.1353/cli.0.0014.

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6

Hoffman-Strock, Martha, Kenneth R. Bartlett, and Margaret McGlynn. "Humanism and the Northern Renaissance." Sixteenth Century Journal 34, no. 3 (2003): 845. http://dx.doi.org/10.2307/20061573.

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7

Dover, Paul M., and Stephen Kolsky. "Courts and Courtiers in Renaissance Northern Italy." Sixteenth Century Journal 36, no. 3 (2005): 829. http://dx.doi.org/10.2307/20477497.

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8

Sullivan, Margaret A. "Bosch, Bruegel, Everyman and the Northern Renaissance." Oud Holland - Quarterly for Dutch Art History 121, no. 2-3 (2008): 117–46. http://dx.doi.org/10.1163/187501708787335811.

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9

Silver, Larry. "Review: Jeffrey Chipps Smith, The Northern Renaissance." Art Book 12, no. 1 (2005): 40. http://dx.doi.org/10.1111/j.1467-8357.2005.00504.x.

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10

Palmer, Richard. "Medical Botany in Northern Italy in the Renaissance." Journal of the Royal Society of Medicine 78, no. 2 (1985): 149–57. http://dx.doi.org/10.1177/014107688507800216.

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11

Davies, Jonathan. "Review: Courts and Courtiers in Renaissance Northern Italy." English Historical Review 120, no. 487 (2005): 825–26. http://dx.doi.org/10.1093/ehr/cei284.

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12

Biow, Douglas. "The Politics of Cleanliness in Northern Renaissance Italy." Symposium: A Quarterly Journal in Modern Literatures 50, no. 2 (1996): 75–86. http://dx.doi.org/10.1080/00397709.1996.10113514.

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13

Diggelmann, Lindsay. "Courts and Courtiers in Renaissance Northern Italy (review)." Parergon 22, no. 2 (2005): 233–35. http://dx.doi.org/10.1353/pgn.2006.0013.

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14

Chemchieva, A. P. "Northern Altaian Ethnic-Cultural Identity in Urban Context: Symbolic Renaissance." Archaeology and Ethnography 17, no. 7 (2018): 135–45. http://dx.doi.org/10.25205/1818-7919-2018-17-7-135-145.

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Purpose. The article contributes to the study of urban life of Russian ethnic minorities. Our research was based on three groups of Northern Altaians: the Kumandins, the Tubalars, and the Chelkans, the indigenous ethnic minorities of Siberia. Results. Our research shows that Northern Altaians vary according to the degree of their urbanization with the Kumandins being the most urbanized ones. The main reason for an increase in number of Northern Altaians in cities is migration from village areas. They migrate primarily for the sake of education, job search, better living conditions, as well as

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15

Davis, Matthew. "Some Northern European Comparisons for Scottish Renaissance Tall-Houses." Architectural Heritage 18, no. 1 (2007): 1–14. http://dx.doi.org/10.3366/arch.2007.18.1.1.

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16

Sullivan, Margaret. "Bruegel's Proverbs: Art and Audience in the Northern Renaissance." Art Bulletin 73, no. 3 (1991): 431. http://dx.doi.org/10.2307/3045815.

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17

Parshall, Peter. "IMAGO CONTRAFACTA: IMAGES AND FACTS IN THE NORTHERN RENAISSANCE." Art History 16, no. 4 (1993): 554–79. http://dx.doi.org/10.1111/j.1467-8365.1993.tb00546.x.

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18

Ronnes, Hanneke, and Arnold Witte. "The Dutch Renaissance in a Straightjacket." Explorations in Renaissance Culture 41, no. 1 (2015): 94–115. http://dx.doi.org/10.1163/23526963-04101005.

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During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloe

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19

Ferraro, Joanne M. "The Power to Decide: Battered Wives in Early Modern Venice*." Renaissance Quarterly 48, no. 3 (1995): 492–512. http://dx.doi.org/10.2307/2862872.

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Historians of the Family in Renaissance Europe have devoted much attention to its patriarchal orientation. For the northern Italian cities, intense monographic study of elite behavior has illuminated the guiding principles behind strategies that preserved and enhanced family status. Those principles also occupy a prominent position in the prescriptive writings of contemporary jurists, humanists, and moralists; from them historians have argued that women's powers of decision in the urban environment of Renaissance Italy were severely limited. Similar conclusions have been reached for the Reform

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20

Romanenkova, Julia, Halyna Kuzmenko, and Ivan Bratus. "Pendant in the Jewelry Fashion of the Northern Renaissance and Mannerism." Journal of History Culture and Art Research 8, no. 3 (2019): 317. http://dx.doi.org/10.7596/taksad.v8i3.2198.

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21

McGee, Julie L., and Gregory T. Clark. "A Tribute to Robert A. Koch: Studies in the Northern Renaissance." Sixteenth Century Journal 27, no. 1 (1996): 255. http://dx.doi.org/10.2307/2544342.

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22

Kavaler (book author), Ethan Matt, and Peter Coffman (review author). "Renaissance Gothic: Architecture and the Arts in Northern Europe 1470–1540." Renaissance and Reformation 36, no. 1 (2013): 184–86. http://dx.doi.org/10.33137/rr.v36i1.20035.

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23

Katsanis, Bobbi Dykema. "Meeting in the Garden: Intertextuality with the Song of Songs in Holbein's Noli me tangere." Interpretation: A Journal of Bible and Theology 61, no. 4 (2007): 402–16. http://dx.doi.org/10.1177/002096430706100405.

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In their Noli me tangere images from the Northern Renaissance, Albrecht Dürer and Hans Holbein the Younger depict the encounter between Mary Magdalene and the risen Christ. They provide us images of the holy in humanity, and the human in the holy, in all their dimensions.

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24

Cellamare, Davide. "Anatomy and the Body in Renaissance Protestant Psychology." Early Science and Medicine 19, no. 4 (2014): 341–64. http://dx.doi.org/10.1163/15733823-00194p03.

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This article addresses the use of anatomical knowledge in Renaissance works on the soul produced at northern European universities, as well as the notions of ‘body’ and ‘soul’ that emerge from them. It examines specifically Philip Melanchthon’s and Rudolph Snell van Royen’s treatises on the soul. This analysis shows that a number of Protestant professors of arts and medicine generally considered the anatomical study of the body – which they conceived of as a teleologically organised machina (machine) – to be instrumental in studying the human soul. This article will, however, also document tha

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25

Oster, Emily. "Witchcraft, Weather and Economic Growth in Renaissance Europe." Journal of Economic Perspectives 18, no. 1 (2004): 215–28. http://dx.doi.org/10.1257/089533004773563502.

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This paper explores the possibility that the witchcraft trials are a large-scale example of violence and scapegoating prompted by a deterioration in economic conditions. In this case, the downturn was brought on by a decrease in temperature and resulting food shortages. The most active period of the witchcraft trials coincides with a period of lower than average temperature known to climatologists as the “little ice age.” The colder temperatures increased the frequency of crop failure, and colder seas prevented cod and other fish from migrating as far north, eliminating this vital food source

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26

Silver, Larry. "The State of Research in Northern European Art of the Renaissance Era." Art Bulletin 68, no. 4 (1986): 518. http://dx.doi.org/10.2307/3051038.

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27

Hamilton, Alastair. "Renaissance Inquisitors: Dominican Inquisitors and Inquisitorial Districts in Northern Italy, 1474-1527." Church History and Religious Culture 88, no. 1 (2008): 79–80. http://dx.doi.org/10.1163/187124108x316512.

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28

Bowd, S. "Renaissance Inquisitors: Dominican Inquisitors and Iinquisitorial Districts in Northern Italy, 1474-1527." English Historical Review CXXIV, no. 511 (2009): 1481–82. http://dx.doi.org/10.1093/ehr/cep331.

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29

Armstrong, Adrian. "Self-Translation in the Northern Renaissance: Jan van der Noot’s French Verse." Magnificat Cultura i Literatura Medievals 7 (December 8, 2020): 211. http://dx.doi.org/10.7203/mclm.7.17177.

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The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre, were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abregé des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present stu

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30

Silver, Larry. "The State of Research in Northern European Art of the Renaissance Era." Art Bulletin 68, no. 4 (1986): 518–35. http://dx.doi.org/10.1080/00043079.1986.10788378.

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31

Neher, Gabriele. "Drawing Relationships in Northern Italian Renaissance Art. Patronage and Theories of Invention." Art Book 12, no. 1 (2005): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2005.515_11.x.

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32

Stainton *, Tim. "Reason's other: the emergence of the disabled subject in the Northern renaissance." Disability & Society 19, no. 3 (2004): 225–43. http://dx.doi.org/10.1080/0968759042000204194.

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33

Antoine, Jean-Christophe. "Ramsès XI, le premier prophète d’Amon et l’ascension de Piankh à Thèbes pendant l’Aire de la Renaissance." Journal of Egyptian History 12, no. 1 (2019): 1–35. http://dx.doi.org/10.1163/18741665-12340050.

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Abstract An analysis of P. Geneva D191, P. BM EA 75019+10302, P. Penn 49.11, and P. Turin 2097+2105 leads to a new interpretation on the political events at Thebes during the Renaissance Era. Ramesses XI played a major role in the restoration of order with the help of Libyan troops. He decreed the Renaissance Era with the will of restoring control in the South. Nesamun, at the death of his brother Amenhotep, was compelled to return to his former position of second prophet of Amun while that of first prophet was left vacant for at least two years. After year 4 or 5 of the Renaissance Era, Piank

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34

Davis, John. "A Royal English Medieval Astrolabe Made for Use in Northern Italy." Journal for the History of Astronomy 48, no. 1 (2017): 3–32. http://dx.doi.org/10.1177/0021828616681214.

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This article describes a medieval English astrolabe usually known as Mensing-26 and now in the Adler Planetarium and Astronomical Museum in Chicago. Details of its star positions and names, saints feast days, metallurgy, construction, and general style (featuring a “quatrefoil” rete) are examined and used to place the instrument as one of a small group of astrolabes, epitomised by the great Sloane astrolabe, which has been associated with King Edward III. Using this hypothesis, potential original owners of the instrument in c. 1330–1340 are proposed. It is also shown how the astrolabe was late

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35

Koch, Robert A., and James Snyder. "Northern Renaissance Art: Painting, Sculpture, and the Graphic Arts from 1350 to 1575." Art Bulletin 69, no. 1 (1987): 138. http://dx.doi.org/10.2307/3051090.

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36

Koerner, Joseph Leo. "Frans Floris (1519/20–1570): Imagining a Northern Renaissance by Edward H. Wouk." Common Knowledge 26, no. 1 (2020): 161–62. http://dx.doi.org/10.1215/0961754x-7899832.

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37

Kirby, Jo, David Saunders, and Marika Spring. "PROSCRIBED PIGMENTS IN NORTHERN EUROPEAN RENAISSANCE PAINTINGS AND THE CASE OF PARIS RED." Studies in Conservation 51, sup2 (2006): 236–43. http://dx.doi.org/10.1179/sic.2006.51.supplement-2.236.

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38

Zlopaša, Jovana, and Milica Solarević. "The influence of Renaissance heritage on tourism of Northern Italy: Ferrara and Milan." Turizam 23, no. 4 (2019): 204–18. http://dx.doi.org/10.5937/turizam23-23232.

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39

Grewe, Cordula. "Shaping Reality through the Fictive: Images of Women Spinning in the Northern Renaissance." RACAR : Revue d'art canadienne 19, no. 1-2 (1992): 6. http://dx.doi.org/10.7202/1072849ar.

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40

Benjamin, Andrew. "On the Image of Painting." Research in Phenomenology 41, no. 2 (2011): 181–205. http://dx.doi.org/10.1163/156916411x580940.

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AbstractPainting can only be thought in relation to the image. And yet, with (and within) painting what continues to endure is the image of painting. While this is staged explicitly in, for example, paintings of St. Luke by artists of the Northern Renaissance—e.g., Rogier van der Weyden, Jan Gossaert, and Simon Marmion—the same concerns are also at work within both the practices as well as the contemporaneous writings that define central aspects of the Italian Renaissance. The aim of this paper is to begin an investigation into the process by which painting stages the activity of painting. Thi

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41

Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (2018): 81–104. http://dx.doi.org/10.15291/ars.2756.

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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the

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42

Caraco, Edward P. "NORTHERN RENAISSANCE ART: PAINTING, SCULPTURE AND THE GRAPHIC ARTS FROM 1350 – 1575. James Snyder." Art Documentation: Journal of the Art Libraries Society of North America 4, no. 4 (1985): 182–83. http://dx.doi.org/10.1086/adx.4.4.27947523.

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43

Haussherr, Reiner, and James H. Marrow. "Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance." Zeitschrift für Kunstgeschichte 48, no. 2 (1985): 265. http://dx.doi.org/10.2307/1482282.

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44

Sellink, Manfred, and Susan Dackerman. "Painted Prints; The Revelation of Color in Northern Renaissance & Baroque Engravings, Etchings & Woodcuts." Simiolus: Netherlands Quarterly for the History of Art 30, no. 3/4 (2003): 252. http://dx.doi.org/10.2307/3780919.

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45

Michael D. Bailey. "Renaissance Inquisitors: Dominican Inquisitors and Inquisitorial Districts in Northern Italy, 1474-1527 (review)." Catholic Historical Review 94, no. 4 (2008): 821–22. http://dx.doi.org/10.1353/cat.0.0241.

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46

McIver, Katherine A. "Matrons as Patrons: Power and Influence in the Courts of Northern Italy in the Renaissance." Artibus et Historiae 22, no. 43 (2001): 75. http://dx.doi.org/10.2307/1483654.

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47

Cimellaro, Gian Paolo, and Alessandro De Stefano. "Ambient vibration tests of XV century Renaissance Palace after 2012 Emilia earthquake in Northern Italy." Structural Monitoring and Maintenance 1, no. 2 (2014): 231–47. http://dx.doi.org/10.12989/smm.2014.1.2.231.

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48

Muñoz-Alcocer, Karla, Laura Fuster-López, Andrea Pizarro-Medina, Marcello Picollo, and Giovanni Bartolozzi. "Pre-hispanic pigments and Italian renaissance designs at Spanish colonial missions churches in Northern Mexico." Color Research & Application 41, no. 3 (2016): 289–93. http://dx.doi.org/10.1002/col.22028.

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49

Burgos Lázaro, R., N. Burgos Frías, JA Blázquez González, F. Gilsanz Rodríguez, G. Téllez de Peralta, and JA Rodríguez Montes. "Juan Valverde de Amusco in the medicine of the spanish Renaissance." ANALES RANM 138, no. 138(01) (2021): 82–91. http://dx.doi.org/10.32440/ar.2021.138.01.rev09.

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The anatomical works of Juan Valverde de Amusco History of the composition of the human body, and De humani corporis fabrica by Andrés Vesalio were the two main references for anatomists and surgeons during the Renaissance. Valverde’s work is the result of the study on the corpse. It is composed of seven books and follows a descending architectural order, from head to toe, in the same way as Vesalius’ text. Valverde was accused of plagiarizing Vesalio’s De humani corporis fabrica, the criticisms came from northern Europe -Vesalio was born in Brussels-, the arguments used were lacking in solidi

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50

Marrow, James H. "Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance." Simiolus: Netherlands Quarterly for the History of Art 16, no. 2/3 (1986): 150. http://dx.doi.org/10.2307/3780635.

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