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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions." Nasledie Vekov, no. 1(25) (April 22, 2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.
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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Kunz, Hans-Joachim. "Bibliographische Arbeit der SÄchsischen Landesbibliothek Dresden auf dem Gebiet der bildenden kunst." Art Libraries Journal 11, no. 1 (1986): 28–29. http://dx.doi.org/10.1017/s030747220000448x.
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The Bibliographie Bildende Kunst has come out annually since 1973. It records literature of various kinds about painting, graphic art, plastic art, architecture, applied art, book art, design, folk art, artistic photography as well as theory and history of art. The compilation comprises monographs, periodical essays and important contributions from the daily press. Every yearly volume contains an index of authors and an index of subjects. Every five years a cumulated index is published. Since 1973 the Bibliographie Illustrierte Bucher der Deutschen Demokratischen Republik has come out. It lists GDR publications containing artistic illustrations. Every yearly volume is made accessible by means of an index of authors and subject titles. Index cumulations are published every five years. In 1984 a list concerning the location of periodicals and serials about Fine Arts in libraries of the German Democratic Republic was published. It contains titles from the 18th mid-century onward up to the present, including information on the particular ownership of GDR libraries. These publications are obtainable from Sächsische Landesbibliothek Dresden, GDR-8060 Dresden, PSF 467/468.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Greiner, Bernhard. "»Dieses ist vor dem Bilde unmöglich.«." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, no. 1 (2011): 65–88. http://dx.doi.org/10.28937/1000106184.
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Im Laufe des 18. Jahrhunderts ändert sich in Deutschland die Zugänglichkeit von Kunst grundlegend: Fürstliche Sammlungen werden dem allgemeinen Publikum geöffnet, nur der Kunst gewidmete Museen werden eingerichtet. Diese Entwicklung zeigt eine bemerkenswerte Parallele zur gleichzeitigen Ausbildung einer philosophischen Ästhetik und deren Konzeption einer Kunstautonomie, der Kant dann eine umfassende theoretische Begründung gibt, derart, dass die Momente des Schönen, die Kant in der Kritik der Urteilskraft herausarbeitet, als konstitutive Merkmale der Kunstmuseen wiedergefunden werden können. Die romantische Bewegung bekräftigt diese Entwicklung in ambivalenter Weise. Die allgemeine Zugänglichkeit von Kunst kommt ihrem Auf heben von Grenzen entgegen, nötigt aber auch, neu zwischen dem Sein des Kunstwerks und dem des Betrachters zu unterscheiden, was gegenläufig zum Anlass einer ›Romantisierung‹ des Kunstwerks wie des Betrachters wird. Das wird an August Wilhelm Schlegels Kunstgespräch Die Gemählde herausgearbeitet, weiter an Friedrich Schlegels Nachricht von den Gemählden in Paris und dem Echo Kleists hierauf in seiner Cäcilienerzählung sowie am Essay über Caspar David Friedrichs Bild Mönch am Meer, der von Clemens Brentano und Achim von Arnim verfasst und von Kleist grundlegend umgearbeitet worden ist.<br><br>The accessibility of art in Germany underwent a fundamental change over the course of the 18th century. Aristocratic collectors opened their doors to the general public, and new museums were dedicated exclusively to art. This development parallels the concurrent development of aesthetics in philosophy and the conception of the autonomy of art. Its theoretical foundation was provided by Kant in his third critique with such completeness that the standards of beauty he worked out emerge as constitutive elements of the art museum. The Romantic movement reinforced the trend in what proved to be an ambivalent way. The general accessibility of art was well suited to its transgression of boundaries, but it necessitated a new, less contingent mode of demarcation between the work of art and the observer. That became an occasion for »Romanticization« of both the artwork and its audience, demonstrated here by August Wilhelm Schlegel’s conversation on art Die Gemählde. It is further elucidated by Friedrich Schlegel’s Nachricht von den Gemählden in Paris and its echo in two texts published by Kleist: The novella Die Heilige Cäcilie oder die Gewalt der Musik and the essay on Caspar David Friedrich’s painting Mönch am Meer that was drafted by Clemens Brentano and Achim von Arnim and radically modified by Kleist.
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Brandt, N. N., N. L. Rebrikova, and A. Yu Chikishev. "Raman spectroscopy of the components of 18th-century icon painting." Moscow University Physics Bulletin 64, no. 6 (December 2009): 600–604. http://dx.doi.org/10.3103/s0027134909060083.
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Хребтенко, М. С. "ЗОБРАЖЕННЯ ОДЯГУ І АТРИБУТІВ СВЯТИХ В ІКОНОПИСІ ЛІВОБЕРЕЖНОЇ УКРАЇНИ ТА КИЇВЩИНИ ДРУГОЇ ПОЛОВИНИ XVII – ПЕРШОЇ ПОЛОВИНИ XVIII ст." Art and Design, no. 2 (September 21, 2020): 129–46. http://dx.doi.org/10.30857/2617-0272.2020.2.11.
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To identify and analyze ways of depiction of clothing in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th - the first half of the 18th centuries. The author conducted a field exploration of painted icon monuments from the mentioned period in the collections of Ukrainian museums. The data obtained was supplemented with information from published scientific papers and archival sources. The analysis performed made it possible to trace the peculiarities of the depiction of different fabrics in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th – first half of the 18th centuries, and to identify the aspects of the effects on it of Byzantine and Western European painting techniques. It is revealed that in the Ukrainian icon painting till the end of the 17th century was used a method for depicting fabrics, whose roots go back to the Byzantine system of tempera painting. Although white levkas remained dominant in Ukrainian iconography, by the beginning of the 18th century masters could tone grounds and make imprimaturas, which had their influence on the process of painting clothing and the icon in general. Since about the second quarter of the 18th century the use of grisaille underpaints has been encountered in some icons. These innovations demonstrate the impact of Western European painting at the technical and technological level. Gold and silver were widely used for decorating icons. In that time to decorate the icons were widely used leaf gold and silver and powdered gold and silver. For the first time, the subject of research is the process of painting the garment part of the icons of Left-Bank Ukraine and the Kiev region in the second half of the XVII - the first half of the XVIII centuries. The methods of depicting clothing and common techniques for decorating and depicting texture of fabrics are described and analyzed in detail. The study expands knowledge about Ukrainian icon painting and reveals the technique of its creation.
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Imbert, Isabelle. "Patronage and Productions of Paintings and Albums in 18th-Century Awadh." Journal of Islamic Manuscripts 12, no. 2 (April 30, 2021): 174–201. http://dx.doi.org/10.1163/1878464x-01102002.
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Abstract During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ, to the point where calligraphic panels were completely replaced by colourful plants. Floral designs also appear in the margins, and the repetition of motives and patterns on several pages of different dimensions revealed an extensive commercialization based on a standardized production. In addition, the collections of European collectors such as Antoine-Louis Polier and Jean-Baptiste-Joseph Gentil bear the traces of commercial transactions between European and Indian collectors, as well as prices and possession marks. Together with their writings, correspondences, and memoirs, they bring new information on previously unknown Indian collectors, and more generally on the dynamism of the 18th-century book market.
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Abramkin, Ivan A. "TYPOLOGICAL CHARACTERISTICS OF CEREMONIAL AND CHAMBER IMAGE IN THE RUSSIAN PORTRAIT PAINTING OF 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2020): 112–27. http://dx.doi.org/10.28995/2073-6401-2020-4-112-127.
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The article is devoted to the thorough research of distinctive features of ceremonial and chamber types of portrait in Russian art of 18th century. The matter drew attention of scientists earlier but the identification of specific characteristics, inherent to each type of portrait painting, is not available in academic literature on the subject at the moment. The need for defining a set of features appears relevant for studies into the portrait painting at the turn of 18th – 19th centuries, which is characterized by combination of particularities peculiar to different variants of image in one artwork. It is the identification of distinctive typological characteristics of ceremonial and chamber portrait that allows to explore certain artworks of the mentioned period more effectivly in comparison with stylistic analysis the use of which is objectively difficult with coexistence of various artistic directions.
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LEE, Hye Seung. "TRADITION OF KOREAN LANDSCAPE. ITS HISTORIC PERSPECTIVE AND INDIGENIZATION." International Journal of Korean Humanities and Social Sciences 2 (November 29, 2016): 49–70. http://dx.doi.org/10.14746/kr.2016.02.04.
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This paper aims to provide general presentation of Korean landscape painting with historic consideration. Some Korean elements of landscape were introduced in the early 5th century, and since the 7th century, mountains have become an important theme in the formation of the image space. From the 10th to the 17th centuries, the Korean landscape developed under Chinese rule. However, in the early 18th century a new painting trend – “Koreanization of the Korean landscape” – appeared and there also had emerged the folk landscape style. Furthermore, in the contemporary Korean landscape there are various attempts towards the search for one’s own artistic vision.
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Duparc, F. J. "Philips Wouwerman, 1619 - 1668." Oud Holland - Quarterly for Dutch Art History 107, no. 3 (1993): 257–86. http://dx.doi.org/10.1163/187501793x00018.
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AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.
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Carroll, Jerome. "William James and 18th-century anthropology." History of the Human Sciences 31, no. 3 (May 9, 2018): 3–20. http://dx.doi.org/10.1177/0952695118764060.
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This article discusses the common ground between William James and the tradition of philosophical anthropology. Recent commentators on this overlap have characterised philosophical anthropology as combining science (in particular biology and medicine) and Kantian teleology, for instance in Kant’s seminal definition of anthropology as being concerned with what the human being makes of itself, as distinct from what attributes it is given by nature. This article registers the tension between Kantian thinking, which reckons to ground experience in a priori categories, and William James’s psychology, which begins and ends with experience. It explores overlap between James’s approach and the characteristic holism of 18th-century philosophical anthropology, which centres on the idea of understanding and analysing the human as a whole, and presents the main anthropological elements of James’s position, namely his antipathy to separation, his concerns about the binomial terms of traditional philosophy, his preference for experience over substances, his sense that this holist doctrine of experience shows a way out of sterile impasses, a preference for description over causation, and scepticism. It then goes on to register the common ground with key ideas in the work of anthropologists from around 1800, along with some references to anthropologists who come in James’s wake, in particular Max Scheler and Arnold Gehlen, in order to reconceptualise the connection between James’s ideas and the tradition of anthropological thinking in German letters since the late 18th-century, beyond its characterisation as a combination of scientific positivism and teleology.
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Rose, Margaret A. "The Peace of Westphalia and nineteenth century German history painting." Global Intellectual History 5, no. 1 (April 5, 2019): 41–63. http://dx.doi.org/10.1080/23801883.2019.1586781.
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Zhou, Z. "Hua Niao Painting in the Context of Chinese Art of the 18th Century." Университетский научный журнал, no. 51 (2019): 199–206. http://dx.doi.org/10.25807/pbh.22225064.2019.51.199.206.
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Glettler, Monika. "Enlightenment and History. Studies on German Historiography in the 18th Century." Philosophy and History 22, no. 1 (1989): 74–75. http://dx.doi.org/10.5840/philhist198922138.
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Akhmetsagirova, Leysan Islamovna. "GRAMMATICAL INFORMATION IN THE RUSSIAN-GERMAN DICTIONARIES OF THE 18th CENTURY." Philology and Culture 57, no. 3 (2019): 14–25. http://dx.doi.org/10.26907/2074-0239-2019-57-3-14-25.
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Esono, A. F. "Image of Spain in German Perspective Views of the 18th Century." Университетский научный журнал, no. 62 (2021): 218–25. http://dx.doi.org/10.25807/22225064_2021_62_218.
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Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.
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Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the monastery school of icon painting. Families of hereditary icon painters Chalkovs and Savins from Sumsky Posad are particularly well-known. The monastery sent the most gifted students to St. Petersburg and Moscow to improve their art. In 1880, the Solovetsky painting school was inaugurated, where many northern icon painters acquired basic painting skills. Copying and painting from life formed the basis of the educational process; students were offered paintings from the Academy of Arts as samples. The icons and paintings made in the workshop are distinguished by their characteristic stylistic, technical and technological features. The most prominent graduates of the school (A. A. Borisov, N. G. Bekryashev) contributed significantly to the history of Russian art. The article contains new archival documents and rare photographs.
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
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Jönsson-Steiner, Elisabet, and Aditi Lahiri. "Tonal accents and rhyme in 18th-century Swedish." Nordic Journal of Linguistics 31, no. 1 (June 2008): 5–45. http://dx.doi.org/10.1017/s0332586508001819.
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In Modern Swedish certain groups of morphemes are systematically involved in word forms that would be expected to get Accent 2 but that surface with Accent 1. Thus, Swedish infinitives usually get Accent 2 (grip-a ‘seize’), but in combination with certain prefixes, that were borrowed from Middle Low German, infinitives will always be Accent 1 (be-grip-a ‘comprehend’). The dominance and systematic occurrence of Accent 1 suggests viewing it as the lexically specified accent. In this article we are looking for historical facts about these types of words and morphemes to see if we can draw any conclusions concerning lexical accent specification for native vs. non-native morphemes. By investigating the comments on rhymes and accents in the 18th-century poetic manual by Anders Nicander (1707–1781) in combination with his own rhymed verse we can provide information about 18th-century and modern tonal oppositions in Swedish.
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Koch-Dandolo, Corinna L., Troels Filtenborg, Kaori Fukunaga, Jacob Skou-Hansen, and Peter Uhd Jepsen. "Reflection terahertz time-domain imaging for analysis of an 18th century neoclassical easel painting." Applied Optics 54, no. 16 (May 28, 2015): 5123. http://dx.doi.org/10.1364/ao.54.005123.
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Zaust, S. K. "Role of Costume in Religious Painting of the Second Half of the 18th Century." Университетский научный журнал, no. 46 (2019): 111–19. http://dx.doi.org/10.25807/pbh.22225064.2019.46.111.119.
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Simic, Vladimir. "Politics, orthodoxy and arts: Serbian-Russian cultural relations in the 18th century." Muzikologija, no. 28 (2020): 79–98. http://dx.doi.org/10.2298/muz2028079s.
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The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.
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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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Pētersone-Gordina, Elīna, and Guntis Gerhards. "Dental disease in a 17th–18th century German community in Jelgava, Latvia." Papers on Anthropology 20 (December 1, 2012): 327. http://dx.doi.org/10.12697/poa.2011.20.31.
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Puche Lorenzo, Miguel Ángel. "The German contribution to the Spanish mining lexicon of the 18th century." Romanica Olomucensia 28, no. 2 (December 1, 2016): 169–84. http://dx.doi.org/10.5507/ro.2016.017.
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Southcott, Jane E. "Early 19th century music pedagogy – German and English connections." British Journal of Music Education 24, no. 3 (November 2007): 313–33. http://dx.doi.org/10.1017/s0265051707007607.
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Calls to improve congregational psalmody in 18th century England strongly influenced early music pedagogy. In the first decades of the 19th century English music educators, concerned with psalmody and music in charitable schools, looked to Germany for models of successful practice. The Musikalisches Schulgesangbuch (1826) by Carl Gotthelf Gläser (1784–1829) influenced the music materials designed by Sarah Anna Glover (1786–1867). These, in turn, directly influenced John Turner (dates unknown), William Hickson (1803–1870) and, indirectly, John Curwen (1816–1880). It is illuminating to explore how influential a small collection of German didactic songs could be during an early and very active phase of the development of English school music curricula.
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Kiehnle, Arndt. "The long journey of ‘Privatautonomie’." Tijdschrift voor Rechtsgeschiedenis 87, no. 4 (December 19, 2019): 473–503. http://dx.doi.org/10.1163/15718190-00870a09.
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SummaryIndividual autonomy was rediscovered in modernity when it came to the persecution of dissenters in Germany after the Reformatio n. Since the 18th century the ‘Privatautonomie’ of the individual has been established in German private law. Later, in the 19th century, the term autonomy gained ground in the legal terminology of French private law, also thanks to the German emigrant Foelix. In the 20th century autonomy, not least thanks to German-speaking jurists who fled from the Nazis, became a legal term also used in the private law of the USA and Great Britain.
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Winkel, Carmen. "The King and His Army: A New Perspective on the Military in 18th Century Brandenburg-Prussia." International Journal of Military History and Historiography 39, no. 1 (April 30, 2019): 34–62. http://dx.doi.org/10.1163/24683302-03901003.
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Brandenburg-Prussia has always occupied a special place in the German-speaking historiography. However, this has not resulted in a particularly differentiated state of research. Rather, the Prussian military of the 18th century is still characterized by attributes such as ‘monarchic’ and ‘absolutist, which unreflectively continues the narratives of 19th-century historiography. This article is explicitly challenging this image by assuming a differentiated concept of rulership as well as of the military in the 18th century. Using the aristocratic elites, it will examine how Frederick William I (1713–1740) and Frederick II (1740–1786) ruled the army, and ruled using the army.
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Tsukamoto, Akihiro. "Unfolding the landscape drawing method of Rakuchū Rakugai Zu screen paintings in a GIS environment." International Journal of Humanities and Arts Computing 3, no. 1-2 (October 2009): 39–60. http://dx.doi.org/10.3366/ijhac.2009.0008.
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In this paper, I propose a new methodology for analysing landscape drawing methods using a GIS. The subject of my analysis is the genre of Japanese screen paintings known as rakuchū rakugai zu, created between the 16th and 18th centuries. Rakuchū rakugai zu provide bird's-eye views of the then-capital city of Kyoto, including buildings, natural features, and human activities. The methodology introduced here uses GIS spatial analysis functions to scan the painting surface onto a survey coordinate grid based on the relative positions of landmarks in the painting. The analytic sequence is as follows: (1) derive coordinate values for landmarks both on the painting and on a survey coordinate grid; (2) generate a link table from these two point-data sets; (3) use the projective transformation and rubber sheeting techniques to project the painting surface onto the survey coordinate grid; and (4) project the areas of the rubber sheet-derived polygons onto the painting. This process gives visual representation to differences between real space and the depicted space. Results show that rakuchū rakugai zu painted in the seventeenth century and later distorted real space more than those painted in the sixteenth century, indicating a decrease in adherence to conventional perspective-based painting.
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Edwards, Howell G. M., Peter Vandenabeele, Jan Jehlicka, and Timothy J. Benoy. "An analytical Raman spectroscopic study of an important english oil painting of the 18th Century." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 118 (January 2014): 598–602. http://dx.doi.org/10.1016/j.saa.2013.07.059.
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Cha, Im Sun. "The Characteristics of French Textile Pattern Design Reflected in Ladies’ Robes in 18th-Century Painting." Archives of Design Research 29, no. 4 (November 30, 2016): 185. http://dx.doi.org/10.15187/adr.2016.11.29.4.185.
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Zaust, S. K. "Costume in the Historical Painting of Russia in the Second Half of the 18th Century." Университетский научный журнал, no. 43 (2018): 126–36. http://dx.doi.org/10.25807/pbh.22225064.2018.43.126.136.
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Bochnakowa, Anna. "Les mots français dans le waaren lexicon de ph.a. Nemnich fin du XIIIe siècle." Romanica Wratislaviensia 63 (October 11, 2016): 11–19. http://dx.doi.org/10.19195/0557-2665/63.2.
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FRENCH VOCABULARY IN WAAREN LEXICON BY PH.A. NEMNICHEND OF THE 18th CENTURY The article is a description of French vocabulary included in the multilingual dictionary of merchandise from the 18th century entitled Waaren-Lexicon in zwölf Sprachen by Ph.A. Nemnich. The examples were taken from the French-German part of the publication to illustrate the contents and principles of the lexicon. The presented dictionary is a valuable testimony of multilingual vocabulary in the field of merchandise, but above all an example of a pioneering, comprehensive dictionary of technical language, used in a specific occupational field.
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Abdullina, Darina A. "The “Allegorical Ornateness” in Children’s Portraits of the 18th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 616–25. http://dx.doi.org/10.25281/2072-3156-2020-17-6-616-625.
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The article considers the emergence and development features of the symbolic and emblematic system of children’s portraits in the 18th century. Children’s portraits, as well as the history of childhood in general, attract more and more attention of Russian and Western researchers; the largest museums of the country and the world devote their exhibition projects to this subject. This paper shows, for the first time, how symbols have been “reinterpreted” in accordance with the changes in the attitude of Russian society to the nature of childhood and in the artistic environment at that time, the “formulas” of its presentation in art. The article considers in detail the specifics of using a number of attributes by Russian artists in the context of children’s portrait images: books, floral symbols, animals and birds, toys and other items. As examples, there are considered the works of “capital” and “provincial” artists of the 18th century: I.Ya. Vishnyakov, F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky, as well as a number of authors whose names remain unknown. Special attention is paid to the issue of borrowing symbols, signs and metaphors from Western European art, their adaptation and transformation in Russian painting, taking into account national ideas about children and their subject environment. The article concludes that the children’s portrait symbolic sphere went through a difficult path during the 18th century, from a tool for personifying the male or female adulthood of a young model to creating the image of a child as a romantic symbol of the world of childhood, an elusive ideal.
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Molnar, Aleksandar. "The impact of pietism and Frederic the Great on German 18th century enlightenment." Sociologija 53, no. 4 (2011): 475–88. http://dx.doi.org/10.2298/soc1104475m.
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In the article the author is dealing with two issues he perceives as main specific features of the German 18th century Enlightenment: the impact of pietism and the role of Prussian king Frederic the Great. On the one hand, as a very influential intellectual power in Germany, especially in Prussia, pietism was reluctant to let freedom of consciousness go too far. Instead, it tried to come to terms with the Enlightenment movement and save what was believed to be the original ?core? of Christianity. On the other hand, Frederic played a crucial role in the development of German Enlightenment as a free-thinker, as well as an enlightened despot, who encouraged his subjects to think freely in religious matters, but never contemplated the possibility to help them overcome their political immaturity. Instead, he preferred order and discipline in persuading his ?people? to accept state machinery which should be served quietly and obediently. The long-term consequences of such development were the rise of nationalism and the theory of the reason of state.
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Andreev, A., and Yu Andreeva. "Lutheran population of Saint Petersburg in the first half of the 18th century according to the paris h marriage regis ters." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 20, no. 04 (2020): 6–13. http://dx.doi.org/10.14529/ssh200401.
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Based on the marriage registers of the Lutheran congregation of St. Peter and Vasileostrovskaya community (in the future — St. Catherine) the article recreates the models of national and social structures of Petersburg Lutherans in the first half of the 18th century. The author found that German communities included, in addition to Germans, a small percentage of Swedes and Poles. By the middle of the century, with the total number of Lutheran communities in St. Petersburg in 1500—1700 believers of both sexes, they could contain about 1200—1300 persons of German nationality, 150—200 Finns, about a hundred Swedes, several dozen people (no more than fifty) Germanized Polish. The article makes a clear conclusion that among the Petersburg Lutherans had predominated craftsmen of working professions and clerks. They may have numbered more than seven hundred in the middle of the 18th century. The military, merchants, and officials were represented in much smaller proportions.
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Barthelmess, Klaus. "A watercolour of a stranded sperm whale from the late seventeenth century." Archives of Natural History 40, no. 1 (April 2013): 38–44. http://dx.doi.org/10.3366/anh.2013.0134.
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A manuscript album, known as Kungsboken, contains various documents of military relevance assembled during the rule of the Swedish kings Charles XI and Charles XII. Among them is a watercolour depicting a stranded sperm whale. The painting is not signed or dated but is believed to have been done around 1675. It may be an illustration of a whale that was stranded on the north German coast, then part of the Swedish empire. The painting is an interesting example of anamorphosis.
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Rubik, Margarete. "English drama at the German theatre in Ljubljana in the last decades of the Habsburg monarchy." Acta Neophilologica 45, no. 1-2 (December 31, 2012): 33–52. http://dx.doi.org/10.4312/an.45.1-2.33-52.
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This article examines the English repertoire of the German theatre in Ljubljana in the last decades of the Habsburg monarchy and its reception by the local German newspaper, Laibacher Zeitung. It considers only drama, not operas or operettas. The English plays were, of course, performed in translation, in German, as opposed to the plays performed in the Slovenian language from the late 18th century on and especially within the Dramatično društvo circle established in 1867. The choice of performances gives interesting insights into the late 19th century attitude towards English culture as well as the self-image fostered by the German stage in Ljubljana.
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Schnalke, Thomas. "Praxis, Theorie und Wissenschaft im Selbstverständnis des städtischen Arztes Christoph Jacob Trew (1695-1769)." Gesnerus 52, no. 1-2 (November 27, 1995): 40–53. http://dx.doi.org/10.1163/22977953-0520102005.
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In addition to universities and courts, large towns were regarded as attractive locations for a successful career by physicians in the 18th century. This study reveals the spectrum of practical and scientific activities of a “physi- cus” like Christoph Jacob Trew (1695-1769) who lived in the German town of Nuremberg. Emphasis is put on his attitude towards the meaning of medical practice, theory, and science in his work. Letters and drafts which form the basis of this study prove their usefulness as sources for medico- historical studies on the professional world of practicing physicians in the 18th century.
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Baranova, Irina V. "Charity within Professional Environment of Saint Petersburg Germans in the Late 18th - Early 20th Century." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 4 (208) (December 23, 2020): 48–53. http://dx.doi.org/10.18522/2687-0770-2020-4-48-53.
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The article studies the system of German professional charitable organizations that existed in the late 18th - early 20th century. Charitable associations related to professional activities are conditionally divided into three categories: 1) shelters for representatives of various professions; 2) societies and mutual aid funds; 3) associations providing various assistance to the poor segments of the city population. We analyse the underlying mechanisms and functions of philanthropic institutions created either by German charitable organizations or private individuals for representatives of certain professions; in some cases we overview their financing as well. The article provides brief look at German immigrant mutual aid funds and principles of their operations. Charitable support was especially necessary for the Germans who had recently arrived in the city and had not yet found and employment, as well to the layers of German population unable to work. By analyzing the means of inter-societal support and external charity efforts it is possible to identify and suggest possible ways to provide social assistance to foreigners who come to St. Petersburg for the purpose of professional employment.
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Schlick, Tamar. "The Critical Collaboration between Art and Science: An Experiment on a Bird in the Air Pump and the Ramifications of Genomics for Society." Leonardo 38, no. 4 (August 2005): 323–29. http://dx.doi.org/10.1162/0024094054762160.
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Inspired by a famous 18th-century painting by Joseph Wright, the author discerns similarities between issues relevant then and the public's current reception of scientific ideas from modern biology in the wake of the Human Genome Project. She proposes educational and scientific initiatives and advocates more positive and balanced portrayals of scientific themes in the arts to help engage the public in a discourse about the ramifications of genomics science and technology for our lives.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Ursachi, Doina Dimitriu. "9. The Romantic German Lied – An Overview." Review of Artistic Education 21, no. 1 (June 1, 2021): 71–77. http://dx.doi.org/10.2478/rae-2021-0009.
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Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.
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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Brisby, Claire. "Europeanisation on Paper'. Treatises on Painting in Greek during the first half of the 18th century." Byzantine and Modern Greek Studies 26, no. 1 (January 2002): 361–62. http://dx.doi.org/10.1179/030701302806932277.
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Kruglov, Vasily M. "Five Additions to The Dictionary of the 18th-century Russian Language." Slovene 6, no. 2 (2017): 678–85. http://dx.doi.org/10.31168/2305-6754.2017.6.2.29.
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The article analyzes the semantics and origins of the words olbrim and obdenkovatʹ. In the Russian language of the age of Peter the Great, the noun olbrim (cf. Belorussian olbrim, obrim; Ukrainian olbrym < Polish olbrzym, obrzym < Greek ὄβρῐμος) was used in the meaning of ‘giant’ and the verb obdenkovatʹ (German abdanken; cf. Polish abdankować) in meaning of ‘to resign.’ The second part of the article analyzes the sense of three contexts in which incorrect interpretation caused several inaccuracies in The Dictionary of the 18th-century Russian Language related to variants of the word olbrim, the semantics of the verb gomonitʹ, and the date of the initial appearance of the borrowed word distrakcija.
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Inmo Jeong. "The Map of Thought - Dialetics of German Enlightenment and Pietism in the 18th Century." faith & scholarship 23, no. 3 (September 2018): 243–61. http://dx.doi.org/10.30806/fs.23.3.201809.243.
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Langbour, Nadège. "L’hypopeinture greuzienne et ses palimpsestes narratifs au XVIIIe siècle." Quêtes littéraires, no. 5 (December 30, 2015): 23–32. http://dx.doi.org/10.31743/ql.235.
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In the 18th century, the paintings of Greuze had much success. The literature took against these paintings. It transposed them in narrative texts. Diderot and Aubert, described paintings of Greuze by using the literary kind of the moral tale. Thus, they respected moral spirit of the painting of Greuze. But when paintings of Greuze were transposed in the novels, this moral spirit had been perverted : the novels respected stating of Greuze, but they used it to produce a different statement.
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Sustic, Sandra, Ivan Rezic, and Mario Cvetkovic. "Recovery of a vandalized canvas painting our Lady of the Rosary from Vrlika (Croatia)." Ge-conservacion 18, no. 1 (December 10, 2020): 247–57. http://dx.doi.org/10.37558/gec.v18i1.828.
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This study is related to the major recovery project of an 18th century oil painting on canvas depicting Our Lady of the Rosary, the patron saint of the parish community of Vrlika and its surroundings. During the Croatian War of Independence in 1992 it was taken off the main altar and vandalized by the paramilitary units. This resulted in termination of a century long tradition of annual feasts in Vrlika in which the painting was publicly displayed and carried by the townsmen. Based on the available visual materials: a high resolution old black and white photograph and the low resolution coloured one, respectfully, using the computer colorization algorithm, and also relying on detailed visual analysis of the original paint layer, a major reconstruction was carried out in 2017. This research has demonstrated that the recovery of the artworks with dramatic losses is an extremely complex social phenomenon difficult to characterize by any general factor or based on any general approach.
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Faktorová, Veronika. "Krkonoše jako ideální horská krajina na konci 18. a počátku 19. století." Góry, Literatura, Kultura 13 (September 22, 2020): 83–92. http://dx.doi.org/10.19195/2084-4107.13.8.
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At the end of the 18th century, the new idea of the mountain landscape as an ideal and beautiful landscape emerged in Central Europe. This cultural process was conditioned by the contemporary aesthetic concepts of the Sublime and the Picturesque, related to the development of a new cultural and social practice of education of the eye (described in the book of Peter De Bolla The Education of the Eye: Painting, Landscape, and Architecture in Eighteenth Century Britain, 2003). In a Central European context, the model of the mountain landscape was found in the Krkonoše mountain range, and travelogues, analysed in our case study, have contributed to its establishment.