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Journal articles on the topic 'Painting, Italian – 18th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Tracz, Szymon. "Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork." Perspektywy Kultury 30, no. 3 (December 20, 2020): 151–78. http://dx.doi.org/10.35765/pk.2020.3003.11.

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The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.

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2

Zagora, Jelena. "Historical Development of Coloured Grounds in Italian Painting from the 15th to the mid-18th Century – Present Insights and Open Questions." Portal 8 (December 28, 2017): 73–94. http://dx.doi.org/10.17018/portal.2017.8.

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3

Willemijn Fock, C. "werkelijkheid of schijn. Het beeld van het Hollandse interieur in de zeventiende-eeuwse genreschilderkunst." Oud Holland - Quarterly for Dutch Art History 112, no. 4 (1998): 187–246. http://dx.doi.org/10.1163/187501798x00211.

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AbstractOur ideas of what 17th century Dutch interiors looked like have been conditioned by the hundreds of paintings of interiors by Dutch genre painters. Even restorations and reconstructions in our own time (fig. 1) are influenced significantly by them. It is therefore of vital importance to our knowledge of the history of Dutch interior decoration to realise what we can or cannot believe, and to compare these genre interiors with other sources such as probate inventories, building specifications, plans, conditions of sale, contemporary descriptions such as travellers' reports, etc. It is the combination of these different types of information that enables them to supplement and correct each other. Since the fixed interior fittings are not usually mentioned in probate inventories, it is even more important to weigh all the available evidence by critical analysis. The scope of this article allows me to discuss only a few of the many features; I shall therefore restrict my comments to the fixed decorations and closely associated features. This discourse is therefore in part a comment on Peter Thornton's book Seventeenth Century Interior Decoration in England, France and Holland, who made extensive use of Dutch genre paintings but, unfortunately, could not compare them with inventories of Dutch burghers (other than with the published inventories of the princes of the House of Orange) or with other written Dutch sources. The main starting point is a well-known picture by Emanuel de Witte in the Museum Boijmans Van Beuningcn in Rotterdam, of which a second version is kept in Montreal (fig. 2-3); hardly any other genre interior has been so consistently used as a prototype for a Dutch 17th century interior. The room in the foreground shows a woman sitting at a virginal, a common feature in Dutch houses of the period, while on the left a man is sleeping in a bed; during this period, wealthier people were only just starting to differentiate between living-rooms and bedchambers, and a combination of the two functions was still quite common. The ceiling, however, shows that the tie-beams do not run parallel to the façade as they ought to, but perpendicular to it. This is clearly an instance of artistic licence, so that the horizontal lines of the beams can close off the composition at the top. Behind this room is the entrance hall, with two more rooms behind. An enfilade of this kind is out of the question in a Dutch house at that time, even in a country house. Here the artist has allowed the emphasis on the perspective view and spatial relationships within the painting to prevail over reality, a common feature in most other Dutch genre interiors (fig. 4). Floors with intricate patterns of contrasting marble slabs are a predominant element in these perspective paintings. They can be seen in most genre pictures from the middle and third quarter of the 17th century. However, very few such floors actually survive. There is a rare example, dating from 1661, in the museum 'Our Good Lord in the Attic' at Amsterdam (fig. 6). At that time Amsterdam was a port of transit for marble and stone from Italy and other countries. Travellers reported seeing patterned marble floors in Amsterdam, although most floors of this kind arc likely to have been in official or public buildings. Their prevalence in the residences of burghers is open to question. Only a few building specifications describe them, while explicit references to expensive wooden floors in rich houses have been found. For instance, in one of the most luxurious Amsterdam residences, the mansion of the Bartolotti family, only two such floors were added between 1649 and 1664, in which latter year the rooms in question were particularised in the inventory as 'stone' chambers. This specific indication is in itself proof of how rare marble floors were, for such designations occur only sporadically in inventories of the period (e.g. of the Trippenhuis). In the elaborate descriptions of his important commissions between 1637 and 1670 (fig. 7) the architect Philips Vingboons always mentions marble floors when there are any: altogether, he describes 'Italian' floors four times. They are however quite plain, consisting solely of white slabs; only in two instances was the white marble relieved by blue or red strips specially cut for this use. The fact that this prominent architect dwells so proudly on this feature demonstrates how exceptional it was; elsewhere he invariably speaks of Prussian deals. Several designs by the architect Pieter Post for interiors of burgher houses survive, some even with patterns for marble floors. Again, though, they are very simplc (fig. 8-9), the more elaborate ones being meant for an entrance hall (fig. 10). And we know from the records that wooden floors were preferred for a house which Post built in Dordrecht, even in the reception rooms. Similarly, a third well-known architect, Adriaen Dortsman, designed stone and marble floors only for the basement and corridors of the house he built for Jan Six in 1666 (fig. 11) - not, however, for the main rooms. Examples like these, moreover, apply to the houses of the absolute upper class in Amsterdam, the richest city in Holland. Marble and stone floors were in fact largely confined to halls and corridors, as in the palace Huis ten Bosch built by Pieter Post (fig. 12-13). Of the other palaces belonging to the Prince of Orange, only Rijswijk was famous for its marble floors in most of the rooms (fig. 14). The rooms in the two earliest 17th-century dolls houses, dating from the 1670s, do not have marble floors either, except for the entrance hall (fig. 15); a slightly later one has a marble floor in the hall and the best kitchen, but also in the lying-in chamber (fig. 16). These Amsterdam dolls houses again clearly indicate a preference for wooden floors in reception and living rooms. The rarity of marble floors in living rooms is understandable, since they struck cold and were uncomfortable to dwell on. In the front halls, where marble or stone floors were much more common, there was usually a wooden platform (called a zoldertje) for people to sit on (fig. 19). All this is borne out by one quantitative source: a series of the conditions of sale pertain ing to houses in the city of Haarlem over a period of sixty years. Although they concern the second half of the 18th century, a considerable number of 17th-century interior features were still preserved. No fewer than approximately 5000 different houses are described in this source: by then nearly all larger houses had marble entrance halls and corridors, most of them dating from the 18th century; however, a total of no more than nine living rooms arc mentioned as having marble or stone floors! All these considerations lead to the conclusion that, although marble floors did exist in the houses of Dutch burghers, they were

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Cropper, Elizabeth, and Charles Dempsey. "Italian Painting of the Seventeenth Century." Art Bulletin 69, no. 4 (December 1987): 494. http://dx.doi.org/10.2307/3050995.

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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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6

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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7

Buccini, Stefania, Jacob Bean, and William Griswold. "18th Century Italian Drawings in the Metropolitan Museum of Art." Italica 69, no. 2 (1992): 232. http://dx.doi.org/10.2307/479531.

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8

Andreoni, Annalisa. "Mythology and earthquakes in Italian literature of the 18th century." Forum Italicum: A Journal of Italian Studies 48, no. 1 (February 21, 2014): 126–31. http://dx.doi.org/10.1177/0014585813514728.

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9

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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10

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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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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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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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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14

Sokolov, Alexander I., and Irina A. Malysheva. "Turkisms in one of the early Russian translations of the 18th century." Vestnik of Saint Petersburg University. Language and Literature 18, no. 1 (2021): 187–201. http://dx.doi.org/10.21638/spbu09.2021.110.

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The article considers Turkic borrowings in the Russian language at the beginning of the 18th century. The material of the study was a translation of the 17th century treatise “The History of the Present State of the Ottoman Empire” written by the English diplomat Paul Ricaut and translated into a number of European languages. The Russian translation was done by P.A.Tolstoy from the Italian version in 1702–1714 and published as “The Turkish Monarchy” in 1741. The study presents the methods of phonetic (orthographic) and morphological adaptation of Turkisms by comparing a typographical manuscript for typesetting with edits (made in 1725) and the printed text. The article aims at comparing the usage of borrowings with their forms in the Italian version of the treatise and in the Polish translation since the latter, apparently, was used in the process of typographical editing of the Russian text. A number ofdistorted forms of Turkisms that appeared in the Russian “Monarchy” as a result of the mechanical transfer of typos from the Italian translation were revealed. It has been established that the translation of compound nouns identified in the Turkic languages as izafet constructions was mainly a copying of their forms from the Italian translation. Most of the Turkisms in “The Turkish Monarchy” are exoticisms, but likely relevant for the Russian reader of the 18th century. Hence, the principles of including exoticisms in the “Dictionary of the Russian Language of the 18th Century” require clarification because a number of Turkisms denoting confessional concepts in modern Russian are part of active vocabulary.

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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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Tarr, Roger. "‘Visibile parlare’: The spoken word in fourteenth-century central Italian painting." Word & Image 13, no. 3 (July 1997): 223–44. http://dx.doi.org/10.1080/02666286.1997.10434286.

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Cropper, Elizabeth, and Charles Dempsey. "The State of Research in Italian Painting of the Seventeenth Century." Art Bulletin 69, no. 4 (December 1987): 494–509. http://dx.doi.org/10.1080/00043079.1987.10788455.

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Wood, Jeryldene. "PERCEPTIONS OF HOLINESS IN THIRTEENTH-CENTURY ITALIAN PAINTING: CLARE OF ASSISI." Art History 14, no. 3 (September 1991): 301–28. http://dx.doi.org/10.1111/j.1467-8365.1991.tb00441.x.

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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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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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Poirier, Jean-Paul. "Electrical earthquakes: A short-lived theory in the 18th century." Earth Sciences History 35, no. 2 (January 1, 2016): 283–302. http://dx.doi.org/10.17704/1944-6178-35.2.283.

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As soon as it was shown that thunderstorms were due to electricity, it became obvious for many physicists that earthquakes, which, as Pliny said, were subterranean thunderstorms, must be electrical phenomena. Despite some opposition, the ‘system of electricity’ became the fashionable theory of earthquakes, in the second half of the 18th century. Its proponents insisted on the idea that only electrical discharges could explain that earthquake shocks propagated instantaneously over large distances. A majority of the Italian philosophers attributed the disastrous 1783 Calabrian earthquake to electricity. When electrostatic machines and Leiden jars gave way to Voltaic piles, in the beginning of the 19th century, the ‘system of electricity’ rapidly disappeared.

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Pepper, D. Stephen, Elizabeth Cropper, and Charles Dempsey. "An Exchange on the "State of Research in Italian 17th-Century Painting"." Art Bulletin 71, no. 2 (June 1989): 305. http://dx.doi.org/10.2307/3051201.

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Mackie, Meaghan, Patrick Rüther, Diana Samodova, Fabiana Di Gianvincenzo, Clara Granzotto, David Lyon, David A. Peggie, et al. "Palaeoproteomic Profiling of Conservation Layers on a 14th Century Italian Wall Painting." Angewandte Chemie International Edition 57, no. 25 (April 26, 2018): 7369–74. http://dx.doi.org/10.1002/anie.201713020.

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Mackie, Meaghan, Patrick Rüther, Diana Samodova, Fabiana Di Gianvincenzo, Clara Granzotto, David Lyon, David A. Peggie, et al. "Palaeoproteomic Profiling of Conservation Layers on a 14th Century Italian Wall Painting." Angewandte Chemie 130, no. 25 (April 26, 2018): 7491–96. http://dx.doi.org/10.1002/ange.201713020.

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Pepper, D. Stephen, Elizabeth Cropper, and Charles Dempsey. "An Exchange on the “State of Research in Italian 17th-Century Painting”." Art Bulletin 71, no. 2 (June 1989): 305–9. http://dx.doi.org/10.1080/00043079.1989.10788502.

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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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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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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (July 1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency lies, to a great extent, in Puccini's obsession with needless suffering.

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Piven, Marina G. "The Image of Dido in 15th-Century Italian Painting: An Area of Interpretation." Actual Problems of Theory and History of Art 9 (2019): 606–18. http://dx.doi.org/10.18688/aa199-5-54.

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Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna." Metropolitan Museum of Art Bulletin 60, no. 4 (2003): 1. http://dx.doi.org/10.2307/3269156.

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Bayer, Andrea. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63, no. 1 (July 1, 2005): 6. http://dx.doi.org/10.2307/20209206.

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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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Byungsun Bang. "Study on the Chinoiserie Style of Italian Faenza Ceramics in the 17th-18th Century." Journal of Korean Studies ll, no. 69 (June 2019): 135–60. http://dx.doi.org/10.17790/kors.2019..69.135.

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Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.

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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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Avdeev, Vasilii Aleksandrovich, and Svetlana Vital'evna Lavrova. "The image of a machine in Italian futurism: manifests, music, painting." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 47–68. http://dx.doi.org/10.7256/2453-613x.2021.3.35341.

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The 20th century became a new epoch in the development of the European civilization which projected images begotten by the process of technological transformation of reality into an artistic space. The quick growth of technologies and the industrialization of all spheres of life were reflected in the works of artists in urbanized images of reality. One of these images was a machine as an embodiment of speed and technical progress. Being a central motive of the main idea of the Italian futurism (the most dynamic branch of modernism), the image of a car penetrated into all artistic spheres of the Italian art of the 1910s - the 1930s, most notably: literature, (embodied, first of all, in the futurists’ manifests, devoted to a Machine); music (the noise music by B. Pratella and L. Russolo), and art (machine painting). The interest in the avant-garde visual art of the 1920s - the 1930s, including the Italian futurism, has been growing recently. Many scientific articles and monographs by foreign authors focus on technical aspects of this ambiguous flamboyant direction: the images of electricity, urban architecture, machines and mechanisms. But the Russian scientific literature lacks in-depth studies of these aspects of futurism. This article is supposed to become the first step on the way of studying the “machine” aspect of futurism, i.e. its historical background, development, and the influence of the image which formed the basis for the main idea of the creator of the direction more than a century ago. The authors consider the use of the image of a machine in various artistic fields: literature, music, art, and provide a comprehensive analysis of this phenomenon.   

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D’Angelo, Vincenzo. "Ital. eravassimo e altre forme verbali in -vassimo." Zeitschrift für romanische Philologie 135, no. 2 (June 5, 2019): 583–96. http://dx.doi.org/10.1515/zrp-2019-0030.

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Abstract This article aims to reconstruct the history of eravassimo (first-person plural of the imperfect indicative of essere) and other Italian verbal forms ending in -vassimo. These rare verbal forms began to appear in grammars and dictionaries in the 17th century and in some literary and non-literary texts in the 18th century. Some examples of the verbal forms in -vassimo can still be found in texts produced in recent years on the Internet.

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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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Starowicz, Aleksandra. ""Z ziemi włoskiej do Polski". Staropolskie przekłady dramaturgii włoskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 235–40. http://dx.doi.org/10.24917/20811853.17.20.

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From Italy to Poland. Old Polish translations of Italian dramaAbstractThe text discusses the most important problems raised in Jadwiga Miszalska’s book The Songof the Tragic Playthings Teaches us Virtue: Translations from Italian as a Source for PolishSerious Drama till the end of the 18th Century (Kraków, 2013). The author drew attention tothe place that the translation from Italian takes in the Polish culture and literature and notedthe fact, that choice of texts for translation, the way of reading, the changes to which thetranslators of the Italian dramaturgy decided have become a source of knowledge about thehistory of literature, literary trends and reading (and scenic) expectations of the time.Keywords: literary translation, Italian drama, Polish translations

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Galindo Martín, Miguel Ángel, and María Teresa Méndez Picazo. "“All´idea di quel metallo”: Ideas económicas en algunas óperas de comienzos del XIX." Studies of Applied Economics 32, no. 1 (March 3, 2020): 139. http://dx.doi.org/10.25115/eea.v32i1.3204.

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From the century 18th and especially 19th century, the economy is considered as a social science, separating from other forms of human knowledge. Publications in this field supply principles and laws of behavior, to a society that was experiencing major social changes. The aim of this article is to explain how some operas have introduced economic ideas in their arguments, focusing in the case of the operas of beginning of the 19th century and Italian authors, exposing their contributions with regard to the entrepreneur, prices and governance.

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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.

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