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Journal articles on the topic 'Painting, Italian Painting, Renaissance Women in art'

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Published: 4 June 2021

Last updated: 12 February 2022

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1

Juan, Rose Marie San. "MYTHOLOGY, WOMEN AND RENAISSANCE PRIVATE LIFE: THE MYTH OF EURYDICE IN ITALIAN FURNITURE PAINTING." Art History 15, no. 2 (1992): 127–45. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00478.x.

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Hibberts, Stephen, Howell G. M. Edwards, Mona Abdel-Ghani, and Peter Vandenabeele. "Raman spectroscopic analysis of a ‘ noli me tangere ’ painting." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 374, no. 2082 (2016): 20160044. http://dx.doi.org/10.1098/rsta.2016.0044.

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The discovery of an oil painting in seriously damaged condition with an important historical and a heterodox detail with possible origins in the late fifteenth century has afforded the opportunity for Raman microscopic analysis prior to its restoration being undertaken. The painting depicts a risen Christ following His crucifixion in a ‘ noli me tangere ’ pose with three women in an Italian terrace garden with a stone balustrade overlooking a rural landscape and an undoubted view of late-medieval Florence. The picture has suffered much abuse and is in very poor condition, which is possibly att

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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.

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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired pa

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Alexander, Ingrid C. "Processes and Performance in Renaissance Painting." MRS Bulletin 17, no. 1 (1992): 28–31. http://dx.doi.org/10.1557/s0883769400043219.

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During the greater part of the 15th century, the Burgundian princes created a stable, unified center for industry and the flourishing of the arts in the Netherlands. Philip the Good became one of the most powerful and wealthy princes of the House of Burgundy in the period. Under his rule, the Netherlands became an important center for commerce. The port of Bruges, and later Antwerp, offered easy access to the important trade routes. The German merchants of the Hansa towns of Bremen, Danzig, Lübeck, and Hamburg and ships from England and the Baltic regions brought wares to be bought and sold in

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

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

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Rabb, Theodore K. "How Italian Was the Renaissance?" Journal of Interdisciplinary History 33, no. 4 (2003): 569–75. http://dx.doi.org/10.1162/00221950360536521.

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The traditional account of the Renaissance holds that intellectual and artistic influence moved overwhelmingly in one direction—from Italy to the rest of Europe, and especially toward the North. A remarkable exhibition in Bruges, however, has made the case that traffic did not go just one way, at least so far as innovation in painting was concerned, because the vibrant cultural center of the Low Countries had a powerful and significant impact on southern Europe. That this case is made through art is an indication of how important it is to bring different disciplines to bear on our understandin

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Johnston, Tiffany L. "American Dionysus: Carl W. Hamilton (1886–1967), collector of Italian Renaissance art." Journal of the History of Collections 31, no. 2 (2018): 411–30. http://dx.doi.org/10.1093/jhc/fhy026.

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Abstract For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephe

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Mayorova, Ekaterina. "Leonardo Da Vinci. The Apology of Eye." Ideas and Ideals 12, no. 4-2 (2020): 412–28. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-412-428.

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The article is devoted to Leonardo da Vinci’s “eye is less deceived than any other sense” maxima. Leonardo’s belief about painting being the most perfect instrument for one’s ontology and epistemology is shown. Based on Leonardo da Vinci’s “Treatise on Painting”, a compilation of Leonardo’s works, the author explores how visual arts (and painting in particular) had come up to the forefront of the Italian Renaissance. Moreover, it is shown how painting takes a leading cultural role in Europe even to this day following the Renaissance. The article reveals why Leonardo da Vinci viewed painting to

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Kozbelt, Aaron. "Psychological Implications of the History of Realistic Depiction: Ancient Greece, Renaissance Italy and CGI." Leonardo 39, no. 2 (2006): 139–44. http://dx.doi.org/10.1162/leon.2006.39.2.139.

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Art historian Ernst Gombrich argued that learning to create convincing realistic depictions is a difficult, incremental process requiring the invention of numerous specific techniques to solve its many problems. Gombrich's argument is elaborated here in a historical review of the evolution of realistic depiction in ancient Greek vase painting, Italian Renaissance painting and contemporary computer-generated imagery (CGI) in video games. The order in which many problems of realism were solved in the three trajectories is strikingly similar, suggesting a common psychological explanation.

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Тарасенко, А. А., та Г. В. Акрідіна. "ІКОНОСТАСИ СПАСО-ПРЕОБРАЖЕНСЬКОГО КАФЕДРАЛЬНОГО СОБОРУ ОДЕСИ: ТЕМАТИКА І СТИЛІСТИКА". Art and Design, № 2 (21 вересня 2020): 114–28. http://dx.doi.org/10.30857/2617-0272.2020.2.10.

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The purpose is to study the themes and the stylistics of the upper and lower churches’ iconostases of the Transfiguration Cathedral in Odessa. The comparative method was used in order to study the topic and identify the artistic and stylistic features of Odessa Cathedral iconostases. It allows comparing the objects of study with analogues from the world art. Iconological, iconographic methods and figurative-stylistic analysis were also applied. The iconostases of the Transfiguration Cathedral upper and lower churches in Odessa are organically inscribed in the architectural environment, thanks

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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 cen

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Kouria, Aphrodite. "Secular painting in the Ionian islands and Italian art: Aspects of a multi-faceted relationship." Historical Review/La Revue Historique 13 (February 24, 2017): 29. http://dx.doi.org/10.12681/hr.11555.

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The contribution of Italian art, especially Venetian, was decisive to the secularisation of art in the Ionian Islands and the shaping of the so-called Ionian School, in the context of a broader Western influence affecting all aspects of life and culture, especially on the islands of Zakynthos and Corfu. Italian influences, mainly of Renaissance, Mannerism and Baroque art, can be identified both on the iconographic and the stylistic level of artworks, with theoretical support. This article explores facets of the dialogue of secular painting in the Ionian with Italian art in the eighteenth and n

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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw

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Garrard, Mary D. "Here's Looking at Me: Sofonisba Anguissola and the Problem of the Woman Artist*." Renaissance Quarterly 47, no. 3 (1994): 556–622. http://dx.doi.org/10.2307/2863021.

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An Unusual Portrait by Sofonisba Anguissola has gained new prominence from its illustration in color in a recent publication. In her Women, Art, and Society (1990), Whitney Chadwick claims of the portrait in question, Bernardino Campi Painting Sofonisba Anguissola (fig. 1), that in presenting herself in the guise of a portrait being painted by her teacher, Anguissola produced “the first historical example of the woman artist consciously collapsing the subject-object position.” Chadwick's succinct observation opens up the possibility of understanding the painting in a new way, for she points to

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Goffen, Rona, Susan L. Caroselli, and Joseph Fronek. "Italian Panel Painting of the Early Renaissance in the Collection of the Los Angeles County Museum of Art." Sixteenth Century Journal 28, no. 1 (1997): 361. http://dx.doi.org/10.2307/2543336.

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Cox-Rearick, Janet. "Imagining the Renaissance: The Nineteenth-Century Cult of François I as Patron of Art*." Renaissance Quarterly 50, no. 1 (1997): 207–50. http://dx.doi.org/10.2307/3039334.

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A sentimental domestic scene, François I and Marguerite of Navarre, was painted in 1804 by the Salon painter Fleury Richard (fig. 1). As he explained, it illustrates an anecdote from the legend of François I. The king's sister, Marguerite de Navarre, is shown discovering on the windowpane a graffito about the inconstancy of women. François — the great royal womanizer — has just scratched it there and looks very pleased with himself.This painting signals not only the early nineteenth century's fascination with the Renaissance king, but reveals its attitudes about the Renaissance itself. For exa

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Igumnova, E. V. "Роджер Фрай и Дж.П. Морган: из истории собрания европейской живописи в музее Метрополитен". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 134–45. http://dx.doi.org/10.46748/arteuras.2020.04.011.

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The article examines the contribution of the British art historian and critic Roger Fry to the study of Italian painting of the Renaissance, his role in the noble community of that time, work on the search for works for large museums (special attention is paid to his relations with the Metropolitan Museum and its patron J.P. Morgan) and attribution problems. The study notes the evolution of Fry's views, going from interests in Italian art to the works of modern masters and the creation of a theory of “significant form”. В статье рассматривается вклад британского историка искусства и критика Ро

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Angelini, Gianpaolo. "«Unhistoried and unconsidered». Percorsi di riscoperta e tutela tra Lario e Valtellina sulle orme di Edith Wharton e Bernard Berenson 1897-1912." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 311–23. http://dx.doi.org/10.48294/s2020.016.

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The article examines the relationships between the description of some Lombard localities contained in Edith Wharton’s Italian Backgrounds (1905). In particular, attention is focused on the parallel events of rediscovery and conservation of the artistic heritage on Lake Como and in the pre-Alpine valleys between the publication of The Decoration of Houses (1897), the exhibition of sacred art at the Volta exhibition in Como (1899) and the preservation activity of Francesco Malaguzzi Valeri and Corrado Ricci. In addition, the essay examines the discovery of Renaissance painting in Valtellina (fr

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Dumitrescu, Marius. "A Journey Inside the Perception of the Self-Image - from the 15th Century Italian Portrait to the Glamorized Image on the Facebook." Postmodern Openings 12, no. 3 (2021): 34–59. http://dx.doi.org/10.18662/po/12.3/326.

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This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a certain perfection. Following the evolution of this kind of projections and reproduc

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Mazurczak, Urszula. "Panorama Konstantynopola w Liber chronicarum Hartmanna Schedla (1493). Miasto idealne – memoria chrześcijaństwa." Vox Patrum 70 (December 12, 2018): 499–525. http://dx.doi.org/10.31743/vp.3219.

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The historical research of the illustrated Nuremberg Chronicle [Schedelsche Weltchronik (English: Schedel’s World Chronicle)] of Hartmann Schedel comprises the complex historical knowledge about numerous woodcuts which present views of various cities important in the world’s history, e.g. Jerusalem, Constantinople, or the European ones such as: Rome, some Italian, German or Polish cities e.g. Wrocław and Cracow; some Hungarian and some Czech Republic cities. Researchers have made a serious study to recognize certain constructions in the woodcuts; they indicated the conservative and contractu

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Larsen, Peter Nørgaard. "Kristus i de dødes rige - et maleri og dets kontekst." Grundtvig-Studier 52, no. 1 (2001): 94–114. http://dx.doi.org/10.7146/grs.v52i1.16399.

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Joakim Skovgaard: Christ in the Realm of the DeadBy Peter Nørgaard LarsenWithout in any way pretending to envelop Joakim Skovgaard’s huge painting Christ in the Realm o f the Dead (1891-94) in an exhaustive monograph, the article attempts, in three main sections, origin, meaning, reception, to approach an understanding of the art-historical models and inspirations for the work, its possible meaning, and, finally, its reception and its chequered course through the history of Danish art.OriginThe encounter with the archaic, .austere style. in both architecture, scuplture and in vase painting was

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Пивень, Марина Георгиевна. "Interpretations of the Old Testament Plot "David’s Victory over the Goliath" in Italian Decorative Painting of XVth Century." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 9–23. http://dx.doi.org/10.31802/2658-5111-2020-1-2-9-23.

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Статья посвящена рассмотрению трактовки ветхозаветного сюжета победы Давида над Голиафом (Первая книга Царств) в живописных произведениях художников Италии XV в. Автор сосредоточивает внимание на декоративных композициях повествовательного характера, выполненных Пезеллино, Джованни ди Сер Джованни (по прозвищу Скеджа) и Андреа дель Кастаньо. Живописные образы рассмотрены в контексте культурных тенденций и идеалов эпохи Возрождения, а также в контексте параллельно развивающейся изобразительной традиции представления библейского героя в статуарной пластике. В статье уделено внимание источникам и

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Voulgaropoulou, Margarita. "From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic." Religions 10, no. 6 (2019): 390. http://dx.doi.org/10.3390/rel10060390.

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Although traditionally associated with Eastern Christianity, the practice of venerating icons became deeply rooted in the Catholic societies of the broad Adriatic region from the Late Middle Ages onwards and was an indispensable part of everyday popular piety. The evidence lies in the massive amount of icons located today in public and private collections throughout the Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when Greeks were branded as “schismatics”, and although the Byzantine maniera greca had become obsolete in Western European art, icon painting managed to survive a

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Markov, Alexander V. "GIOTTO IN RUSSIAN POETRY: NEGATIVITY, DESIGN AND CONSTRUCTION OF SOCIETY." PHILOLOGICAL STUDIES 18, no. 1 (2020): 170–81. http://dx.doi.org/10.17072/1857-6060-2020-18-1-170-181.

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The perception of Giotto’s heritage in Russian literature and culture has always been directly linked not only with the concept of the Renaissance and the development of Western culture, but with a special interest in writing practice and in the ambition of the narrative presented as innovative style to create communities. The main topic of the poetic thought was the transition from community to society, in other words, from community to church, so Giotto's status as a genius was always supported with statements about other geniuses who directly, but rather indirectly, made this transition. De

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Kaye, Richard A. "“DETERMINED RAPTURES”: ST. SEBASTIAN AND THE VICTORIAN DISCOURSE OF DECADENCE." Victorian Literature and Culture 27, no. 1 (1999): 269–303. http://dx.doi.org/10.1017/s106015039927115x.

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“I unreservedly confess, for myself, that I cannot leave my natural perception of what is natural and true, at a palace door, in Italy or elsewhere, as I would leave my shoes if I were traveling in the East. I cannot forget that there are certain expressions of face, natural to certain passions, and as unchangeable in their nature as the gait of a lion, or the flight of an eagle. I cannot dismiss from my certain knowledge such common-place facts as the ordinary proportions of men’s arms, and legs, and heads; and when I meet with performances that do violence to these experiences and recollecti

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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his

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NEVOLA, FABRIZIO. "Introduction: locating communities in the early modern Italian city." Urban History 37, no. 3 (2010): 349–59. http://dx.doi.org/10.1017/s0963926810000490.

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From late antiquity until the nineteenth century the Italian peninsula was made up of numerous states and city-states, governed as republics, or ruled by kings, dukes or popes. While diverse attempts were made to unify these disparate political entities through language and culture, or warfare and realpolitik, the dominant situation was one of intense rivalry and intermittent conflict. That uniquely Italian idea of campanilismo, or pride in one's own bell-tower, was borne of this continuous rivalry. It encapsulates an important concept, that local pride was inscribed in the physical fabric of

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Gammelgaard, Lasse Raaby. "Torquato Tasso på (kryds og) tværs." K&K - Kultur og Klasse 47, no. 127 (2019): 131–52. http://dx.doi.org/10.7146/kok.v47i127.114747.

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The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium

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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.

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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be o

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Demori Staničić, Zoraida. "Ikona Bogorodice s Djetetom iz crkve Sv. Nikole na Prijekom u Dubrovniku." Ars Adriatica, no. 3 (January 1, 2013): 67. http://dx.doi.org/10.15291/ars.461.

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Recent conservation and restoration work on the icon of the Virgin and Child which stood on the altar in the Church of St. Nicholas at Prijeko in Dubrovnik has enabled a new interpretation of this paining. The icon, painted on a panel made of poplar wood, features a centrally-placed Virgin holding the Child in her arms painted on a gold background between the two smaller figures of St. Peter and St. John the Baptist. The figures are painted in the manner of the fifteenth- and sixteenth-century Dubrovnik style, and represent a later intervention which significantly changed the original appearan

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Waldman, Louis Alexander. "Gregorio Comanini. The Figino, or On the Purpose of Painting: Art Theory in the Late Renaissance. Eds. Giancarlo Maiorino and Ann Doyle-Anderson. (Toronto Italian Studies.) Buffalo and Toronto: University of Toronto Press, 2001. xxii + 158 pp. index, bibl. $50 (cl), $21.95 (pbk). ISBN: 0-8020-3574-4 (cl), 0-8020-8446-X (pbk)." Renaissance Quarterly 56, no. 3 (2003): 773–74. http://dx.doi.org/10.2307/1261622.

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Turnock, Julie. "Painting Out Pop." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1764.

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Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapo

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Zhao, Eva. "Women in Italian Renaissance Art: Representation, Societal Ideals, and Identity." General: Brock University Undergraduate Journal of History 2 (April 17, 2017). http://dx.doi.org/10.26522/gbuujh.v2i0.1489.

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A major theme regarding the life of a Renaissance woman was that of subjugation—a woman was denied all political rights and considered the legal ‘object’ of their father or their husband. However, with the Renaissance being characterized as a period of rebirth, cultural development, and intellectual growth, the area of much debate within Italian urban societies was that of women’s roles. Hence, this paper looks to discuss the representations of women in Renaissance art such as portraits and depictions of nudity: in other words, how do the ways that women were portrayed in Renaissance art help

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"History of Italian Renaissance art: painting, sculpture, architecture." Choice Reviews Online 40, no. 06 (2003): 40–3197. http://dx.doi.org/10.5860/choice.40-3197.

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"Treasures of a lost art: Italian manuscript painting of the Middle Ages and Renaissance." Choice Reviews Online 41, no. 03 (2003): 41–1338. http://dx.doi.org/10.5860/choice.41-1338.

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Пивень, Марина Георгиевна. "Images of Troy and Carthage in Quatrocento Italian book miniatures and decorative painting." Искусство Евразии, no. 1(16) (March 30, 2020). http://dx.doi.org/10.25712/astu.2518-7767.2020.01.007.

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Статья посвящена анализу художественной интерпретации мотивов, связанных с образами Трои и Карфагена в книжной миниатюре и декоративной живописи Кватроченто (росписях сундуков cassoni и декоративных панно spalliere). В тексте статьи уделено внимание связи произведений изобразительного искусства с литературными описаниями облика и жизни исчезнувших городов древности, иконографии и семантике эпических сюжетов. Автор приходит к выводу, что художественная интерпретация образа города в искусстве Кватроченто составляла важную часть ренессансного осмысления истории и места человека в ней. При общей у

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"Italian panel painting of the early Renaissance in the collection of the Los Angeles County Museum of Art." Choice Reviews Online 33, no. 03 (1995): 33–1326. http://dx.doi.org/10.5860/choice.33-1326.

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Tittler, Robert. "Paintings off the Peg: The Retail Sale of Paintings in Tudor and Early Stuart England." Journal of British Studies, June 21, 2021, 1–22. http://dx.doi.org/10.1017/jbr.2021.63.

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Abstract The scholarly consideration of the marketing of luxury goods like paintings in Renaissance Europe has rightly concentrated on the Italian and Netherlandish experiences, while the discussion of an English retail market for paintings has focused on a later era. This article investigates the retail sale of painting in Tudor and early Stuart times. It asks what sorts of paintings were sold, who sold them, and what sorts of spaces accommodated such sales. Whereas conventional art historical research has concentrated on the production and sale of portraits, the discovery of an early sevente

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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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Этингоф, Ольга Евгеньевна. "Ancient sources of the image of the Thinker." Искусство Евразии, no. 3(10) (September 30, 2018). http://dx.doi.org/10.25712/astu.2518-7767.2018.03.017.

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Статуя Мыслителя создана Огюстом Роденом в 1880-1882 гг. Скульптурные изображения человеческих фигур, сидящих в задумчивой позе и положивших голову на руки, встречаются уже в первобытном искусстве. Такая композиционная формула была особенно широко распространена в античной круглой скульптуре и рельефах, часто в погребальной пластике. Античная традиция не была утрачена и в период раннего христианства и средневековья, причем в том числе и в исламском искусстве. Образы «задумчивых» фигур интеллектуалов итальянского Ренессанса возрождали античную традицию. И дальше в искусстве нового времени компо

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Webb, Damien, and Rachel Franks. "Metropolitan Collections: Reaching Out to Regional Australia." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1529.

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Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal people

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Franks, Rachel. "A True Crime Tale: Re-imagining Governor Arthur’s Proclamation to the Aborigines." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1036.

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Special Care Notice This paper discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the process of colonisation. Content within this paper may be distressing to some readers. Introduction The decimation of the First Peoples of Van Diemen’s Land (now Tasmania) was systematic and swift. First Contact was an emotionally, intellectually, physically, and spiritually confronting series of encounters for the Indigenous inhabitants. There were, according to some early records, a few examples of peaceful interactions (Morris 84). Yet, the inevitable competition over r

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Wansbrough, Aleksandr Andreas. "Subhuman Remainders: The Unbuilt Subject in Francis Bacon’s “Study of a Baboon”, Jan Švankmajer’s Darkness, Light, Darkness, and Patricia Piccinini’s “The Young Family”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1186.

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IntroductionAccording to Friedrich Nietzsche, the death of Man follows the death of God. Man as a concept must be overcome. Yet Nietzsche extends humanism’s jargon of creativity that privileges Man over animal. To truly overcome the notion of Man, one must undercome Man, in other words go below Man. Once undercome, creativity devolves into a type of building and unbuilding, affording art the ability to conceive of the subject emptied of divine creation. This article will examine how Man is unbuilt in three works by three different artists: Francis Bacon’s “Study of a Baboon” (1953), Jan Švankm

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Elliott, Susie. "Irrational Economics and Regional Cultural Life." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1524.

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IntroductionAustralia is at a particular point in its history where there is a noticeable diaspora of artists and creative practitioners away from the major capitals of Sydney and Melbourne (in particular), driven in no small part by ballooning house prices of the last eight years. This has meant big changes for some regional spaces, and in turn, for the face of Australian cultural life. Regional cultural precincts are forming with tourist flows, funding attention and cultural economies. Likewise, there appears to be growing consciousness in the ‘art centres’ of Melbourne and Sydney of interes

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Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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   Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi

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Dutton, Jacqueline Louise. "C'est dégueulasse!: Matters of Taste and “La Grande bouffe” (1973)." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.763.

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Dégueulasse is French slang for “disgusting,” derived in 1867 from the French verb dégueuler, to vomit. Despite its vulgar status, it is frequently used by almost every French speaker, including foreigners and students. It is also a term that has often been employed to describe the 1973 cult film, La Grande bouffe [Blow Out], by Marco Ferreri, which recounts in grotesque detail the gastronomic suicide of four male protagonists. This R-rated French-Italian production was booed, and the director spat on, at the 26th Cannes Film Festival—the Jury President, Ingrid Bergman, said it was the most “s

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