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Journal articles on the topic 'Sculpture de la Renaissance – Appréciation'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sheard, Wendy Stedman, Phyllis Pray Bober, and Ruth Olitsky Rubenstein. "Renaissance Artists and Antique Sculpture." Zeitschrift für Kunstgeschichte 51, no. 2 (1988): 281. http://dx.doi.org/10.2307/1482448.

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2

Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44 (1993): 133–66. http://dx.doi.org/10.2307/2928642.

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3

Barkan, Leonard. "The Beholder's Tale: Ancient Sculpture, Renaissance Narratives." Representations 44, no. 1 (1993): 133–66. http://dx.doi.org/10.1525/rep.1993.44.1.99p01992.

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4

Reuterswärd, Patrik. "The breakthrough of monochrome sculpture during the renaissance." Konsthistorisk Tidskrift/Journal of Art History 69, no. 3-4 (2000): 125–49. http://dx.doi.org/10.1080/00233600008604519.

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5

Nickson, Tom, and Marjorie Trusted. "Simulacra and Seriality: Spanish Renaissance Sculpture 1400–1600." Hispanic Research Journal 16, no. 5 (2015): 377–78. http://dx.doi.org/10.1080/14682737.2015.1124185.

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6

Donohue, A. A., Ruth Rubenstein, and Phyllis Pray Bober. "Renaissance Artists and Antique Sculpture: A Handbook of Sources." Classical World 82, no. 3 (1989): 216. http://dx.doi.org/10.2307/4350375.

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7

Veldman, Ilja M., Phyllis Pray Bober, and Ruth Rubinstein. "Renaissance Artists and Antique Sculpture: A Handbook of Sources." Simiolus: Netherlands Quarterly for the History of Art 18, no. 3 (1988): 164. http://dx.doi.org/10.2307/3780678.

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8

COCKE, R. "Renaissance Artists and Antique Sculpture, a handbook of sources." Oxford Art Journal 10, no. 1 (1987): 85–89. http://dx.doi.org/10.1093/oxartj/10.1.85.

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9

Nuttall, Paula. "Memling’s Pagagnotti Virgin and Child: Italian Renaissance sculpture reimagined." Sculpture Journal 26, no. 1 (2017): 25–36. http://dx.doi.org/10.3828/sj.2017.26.1.5.

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10

Pommier, Édouard. "Diabolisation, tolérance, glorification ? La Renaissance et la sculpture antique." Études littéraires 32, no. 1-2 (2005): 55–70. http://dx.doi.org/10.7202/501256ar.

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Le regard porté sur les sculptures de l'Antiquité commence à changer au cours du XIVe siècle : considérées comme des œuvres démoniaques, elles deviennent des objets dignes d'admiration, pour des raisons artistiques (modèles pour l'imitation de la nature) et politiques (images de la " Virtù " romaine). Ce mouvement atteint son apogée au début du XVIe siècle ; puis il est menacé par une réaction morale dans la deuxième moitié du siècle, aboutissant à l'occultation des statues du Belvédère. Mais le rôle médiateur de ces œuvres dans la culture et dans la création artistique, en particulier, exclut

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11

Reeve, Matthew. "The Wyvern Collection: Medieval and Renaissance Sculpture and Metalwork." Journal of the British Archaeological Association 172, no. 1 (2019): 182–84. http://dx.doi.org/10.1080/00681288.2019.1652997.

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12

Lillywhite, Marie-Louise. "The history of Venetian Renaissance sculpture ca. 1400–1530." Italian Studies 74, no. 2 (2019): 222–23. http://dx.doi.org/10.1080/00751634.2019.1587880.

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13

Bradanović, Marijan. "Još jednom o širenju renesansne skulpture na Kvarneru." Ars Adriatica, no. 6 (January 1, 2016): 121. http://dx.doi.org/10.15291/ars.534.

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The catalogue of Renaissance sculpture in the Kvarner Gulf is here enlarged with some hitherto unevaluated contributions, while those already known are considered in a different context. The paper provides a description of the process of reception of Renaissance stone sculpture in this region, including the dispersion of individual workshops. The author also proposes a hypothesis concerning the workshopof Master Franjo as the dominant workshop of the region, primarily based on its prolonged activity and widespread presence in the Kvarner Islands and the nearby mainland.

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14

Farbaky, Péter. "Architecture and sculpture in early Renaissance Hungary: art and patronage." Sculpture Journal 26, no. 1 (2017): 53–68. http://dx.doi.org/10.3828/sj.2017.26.1.6.

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15

Beattie, Susan. "The New Sculpture: Aspects of a Nineteenth-Century English Renaissance." Bulletin of the Detroit Institute of Arts 62, no. 4 (1987): 20–29. http://dx.doi.org/10.1086/dia41504757.

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16

Knox, Giles, and Alison Luchs. "Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490- 1530." Sixteenth Century Journal 27, no. 4 (1996): 1096. http://dx.doi.org/10.2307/2543920.

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17

Simpson, Pamela H. "Butter Sculpture: The History of an Unconventional Medium." Sculpture Review 68, no. 4 (2019): 40–59. http://dx.doi.org/10.1177/0747528420901917.

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With its roots in ancient food molds and table art for Renaissance banquets, butter sculpture in the United States debuted during the centennial and flourished in the first quarter of the twentieth century. As the dairy industry moved from farm to regional cooperative creameries and eventually to national brands, butter sculpture appeared at fairs and expositions. Both amateur and professional sculptors used this unusual medium for busts and portraits, dairy-related subjects, and models of buildings. The ephemeral nature of the medium and the novelty of food as art drew crowds to exhibits adve

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18

Johnson, Geraldine A. "‘(Un)richtige Aufnahme’: Renaissance Sculpture and the Visual Historiography of Art History." Art History 36, no. 1 (2012): 12–51. http://dx.doi.org/10.1111/j.1467-8365.2012.00917.x.

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19

Mosz, Jakub. "Ancient Patterns of the Sporting Body." Physical Culture and Sport. Studies and Research 47, no. 1 (2009): 137–43. http://dx.doi.org/10.2478/v10141-009-0041-x.

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Ancient Patterns of the Sporting BodyIn the world of ancient culture you can find images of corporeality which may be recognised as patterns of the sporting body. They come from Greek sculpture and vase painting. Among the preserved Greek cultural artefacts there can be pointed out three examples of patterns of male corporeality and one example of female corporeality connected with the world of sport. These are Polyclitus's sculptures "Doryphorus" and "Diadoumenos", Myron's sculpture "Discus Thrower", Lysippus's sculpture of "Heracles Farnese" and painting presenting Atalanta. They constitute

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20

Kobro, Katarzyna, and Władysław Strzemiński. "Composing Space/Calculating Space-Time Rhythms." October 156 (May 2016): 12–74. http://dx.doi.org/10.1162/octo_a_00251.

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In this treatise, Katarzyna Kobro and Władysław Strzemiński distinguish between the condition of painting (which features a picture on a support with physical imits) and of sculpture (which involves space, which is limitless) and propose that the ways in which each medium determines its own essence must be fundamentally different. While painting relies on what would later be called “deductive structure,” in sculpture the issue is how to relate the object to space. After conducting a chronological examination of the different ways in which the sculptural object has related to space (in the Anci

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21

Zuraw, Shelley E. "Tullio Lombardo and Ideal Portrait Sculpture in Renaissance Venice, 1490- 1530.Alison Luchs." Speculum 73, no. 1 (1998): 222–24. http://dx.doi.org/10.2307/2886927.

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22

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

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23

Kociszewska, Ewa. "Displays of Sugar Sculpture and the Collection of Antiquities in Late Renaissance Venice." Renaissance Quarterly 73, no. 2 (2020): 441–88. http://dx.doi.org/10.1017/rqx.2020.2.

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This article examines the sugar sculptures created for a ball in honor of Henri III of France in the Palazzo Ducale in Venice in 1574. The first part discusses the production and display of the statuettes. In the next section, the setting of the sugar sculptures is examined in the context of the collation prepared for the king in Palazzo Grimani in Santa Maria Formosa, which contains the city's greatest collection of antiquities. Finally, the article examines the possible relationships between sugar statuettes and ancient sculptures and their use in crafting the image of Venice as a new Rome.

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24

Fehrenbach, Frank. "COMING ALIVE: SOME REMARKS ON THE RISE OF "MONOCHROME" SCULPTURE IN THE RENAISSANCE." Source: Notes in the History of Art 30, no. 3 (2011): 47–55. http://dx.doi.org/10.1086/sou.30.3.23208561.

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25

Cole, Michael, and Diletta Gamberini. "Vincenzo Danti’s Deceits." Renaissance Quarterly 69, no. 4 (2016): 1296–342. http://dx.doi.org/10.1086/690314.

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AbstractThe great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text’s close thematic and conceptual connections to its author’s art have gone entirely unnoticed. What Danti’s poem and sculpture share, this essay argues, is a concern with mystified identity. Danti’s poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and

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26

Rutkoff, Peter M., and William B. Scott. "Before the Modern: The New York Renaissance, 1876–95." Prospects 25 (October 2000): 281–310. http://dx.doi.org/10.1017/s0361233300000673.

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On the evening of March 31, 1895, three hundred of New York City's most notable artists and patrons assembled in Madison Square Garden to honor Chicago architect Daniel H. Burnham. Led by Burnham, Chicago had bested New York in a hotly contested competition for sponsorship of the Columbian World Exposition that proudly exhibited the nation's Gilded Age accomplishments in art, architecture, and technology. Astride New York's most prestigious public square, Madison Square Garden might well have been built for the occasion. Arriving by carriages in livery, New York's fin de siècle elite, dressed

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27

Rusin, R. M. "CORPORALITY AS AN ATTRIBUTE OF SCULPTURE(EUROPEAN CONTEXT)." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 87–93. http://dx.doi.org/10.17721/ucs.2017.1.19.

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The historical development of art is a change of paradigms. Each paradigm contains a special understanding of art, defined bothby the act of creativity itself and by the evaluation of its results. It is especially important to identify the origins of these changes, identify their stages, and determine the direction of the evolution of artistic creativity. In this context, corporeality as an artistic paradigm of European sculpture is considered in an article in the historical dimension from classics to postmodernism. Background research driven by changes that have suffered over the past century

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28

Bartlett-Rawlings, Bryony. "The Tombs Which Stood Almost out of Sight of Visitors are Now Seen by Anyone who Wishes: Marcantonio‘s Lion Hunt and the Study of Antique Sculpture." Bulletin of the John Rylands Library 92, no. 2 (2016): 187–200. http://dx.doi.org/10.7227/bjrl.92.2.11.

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What was the process by which an antiquity found on the streets of Rome became the subject of a Renaissance engraving? How did engraving preserve the memory of such antiquities as they vanished into the homes of private collectors, were plundered or destroyed? This article focuses on Marcantonio Raimondis Lion Hunt to explore the relationship between ancient sculpture and the medium of print in Raphaels Rome.

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29

Drakopoulou, Eugenia. "Alkis Charalampidis, Η ιταλική Αναγέννηση. Αρχιτεκτονική – Γλυπτική – Ζωγραφική [The Italian Renaissance: Architecture – Sculpture – Painting]". Historical Review/La Revue Historique 12 (30 грудня 2015): 257. http://dx.doi.org/10.12681/hr.8810.

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30

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

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31

Kaufmann, Thomas DaCosta. "Representation, Replication, Reproduction: The Legacy of Charles V in Sculpted Rulers' Portraits of the Sixteenth and Early Seventeenth Century." Austrian History Yearbook 43 (April 2012): 1–18. http://dx.doi.org/10.1017/s0067237811000555.

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All rulers' portraits are, in several senses, forms of representation. In the first and most obvious instance, all portraits epitomize one of the basic functions of visual art as imitation (mimesis). Portraits represent a person by providing his or her likeness. The Renaissance sculptor Vincenzo Danti (1530–1576), a contemporary of the artists discussed here, pointed to this basic mimetic function when he defined one of the fundamental forms of artistic imitation as ritrarre, using a verb related to the Italian word for portrait, ritratto. Because they are works in three dimensions, sculpted p

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32

BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Pic

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33

Lawrence, Cynthia, and Jeffrey Chipps Smith. "German Sculpture of the Later Renaissance c. 1520-1580: Art in an Age of Uncertainty." Sixteenth Century Journal 26, no. 3 (1995): 715. http://dx.doi.org/10.2307/2543180.

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34

Marano, D., I. M. Catalano, and A. Monno. "Pigment identification on “Pietà” of Barletta, example of Renaissance Apulian sculpture: A Raman microscopy study." Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy 64, no. 5 (2006): 1147–50. http://dx.doi.org/10.1016/j.saa.2005.12.035.

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35

Zapalac, Kristin Eldyss Sorensen, and Jeffrey Chipps Smith. "German Sculpture of the Later Renaissance, c. 1520-1580: Art in an Age of Uncertainty." American Historical Review 103, no. 1 (1998): 208. http://dx.doi.org/10.2307/2650862.

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36

Kavaler, Ethan Matt, and Jeffrey Chipps Smith. "German Sculpture of the Later Renaissance, c. 1520-1580: Art in an Age of Uncertainty." Art Bulletin 77, no. 4 (1995): 685. http://dx.doi.org/10.2307/3046146.

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37

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

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38

Casciaro, Raffaele. "Recensione a Montañés, maestro de maestros, catalogo della mostra a cura di Ignacio Cano Rivero, Ignacio Hermoso Romero e María del Valme Muñoz Rubio." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 9–23. http://dx.doi.org/10.48294/s2020.001.

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The critical review, recent restorations and an excellent photographic campaign have allowed a new reading of the work of Juan Martínez Montañés, the greatest wood sculptor of the Andalusian Renaissance. The Seville exhibition and its catalog explored themes such as the role of the wood arts in 16th and 17th century Andalusia, the contextual meaning of the art of the retable and the importance of polychromy in Montañés’s sculpture. Some attributions appear less convincing and a summary biographical profile that would have facilitated the reading of the essays and catalog entries is missing. Th

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39

Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts

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40

Knudsen, Sandra E., and Gary Vikan. "Catalogue of the Sculpture in the Dumbarton Oaks Collection from the Ptolemaic Period to the Renaissance." American Journal of Archaeology 103, no. 2 (1999): 389. http://dx.doi.org/10.2307/506786.

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41

Waldman, Louis A. "COLORED SCULPTURE OR THREE-DIMENSIONAL PAINTING? A NOTE ON FILIPPO DELLA ROBBIA (AND RENAISSANCE ARTISTIC TERMINOLOGY)." Source: Notes in the History of Art 23, no. 4 (2004): 15–18. http://dx.doi.org/10.1086/sou.23.4.23207990.

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42

Pearman, Sara Jane. "RENAISSANCE ARTISTS AND ANTIQUE SCULPTURE: A HANDBOOK OF SOURCES. Phyllis Pray Bober , Ruth Rubinstein , Susan Woodford." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (1987): 136. http://dx.doi.org/10.1086/adx.6.3.27947798.

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43

KOWALSKI, PHILIP J. "From Memory to Memorial: Representative Men in the Sculpture of Daniel Chester French." Journal of American Studies 41, no. 1 (2007): 49–66. http://dx.doi.org/10.1017/s002187580600274x.

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The civilized and genteel tone of art critic Adeline Adams captures a fading historical and cultural moment that she recovers in this memory of American beaux-arts sculpture, fitfully described in a contemporary exhibition brochure as employing “the classical or Renaissance figural type, stripped of idealization and infused with baroque exuberance in composition,” and “combined with a purely nineteenth-century insistence on accuracy in surface detail.” Despite this sculptural syncretism, Adams's assessment evokes the high civic and didactic role that American public sculpture played toward the

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44

Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.

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After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visi

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45

Peck, L. V. "Uncovering the Arundel Library at the Royal Society: changing meanings of science and the fate of the Norfolk donation." Notes and Records of the Royal Society of London 52, no. 1 (1998): 3–24. http://dx.doi.org/10.1098/rsnr.1998.0031.

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Thomas Howard, Earl of Arundel, was the most important collector in early 17th Century Britain. Much attention has been paid to his collections of painting and sculpture, his patronage of painters such as Rubens and Van Dyck and architects such as Inigo Jones, and his search through Greece and Turkey for antiquities. Little, however, has been written on the Arundel Library, which was equally famous. The cause is not hard to find: the library has been dispersed whereas the marbles and antiquities have found a home at Oxford, the manuscripts at the British Library and the College of Arms, and th

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46

Moxey, Keith. "German Sculpture of the Later Renaissance, c. 1520-1580: Art in an Age of Uncertainty by Jeffrey Chipps Smith." Catholic Historical Review 82, no. 4 (1996): 701–2. http://dx.doi.org/10.1353/cat.1996.0115.

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47

Wilk, Sarah Blake. "Sheila ffolliott. Civic Sculpture in the Renaissance: Montorsoli's Fountains at Messina. (Studies in Renaissance Art History, 1.) Ann Arbor: UMI Research Press, 1984. 116 pls. + xxi + 246 pp. $39.95." Renaissance Quarterly 40, no. 1 (1987): 114–16. http://dx.doi.org/10.2307/2861845.

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48

Jakobiec, Katie. "Beyond Form and Fancy: The Merchant Palaces of Kazimierz Dolny in Poland." Architectural History 60 (2017): 37–69. http://dx.doi.org/10.1017/arh.2017.2.

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AbstractThis article builds upon Jan Białostocki's seminal bookThe Art of the Renaissance in Eastern Europeby examining two merchant palaces in the port city of Kazimierz Dolny on the Vistula River in Poland but departs from his interpretation of them. Focusing on the stucco architecture and relief-sculpture of their façades, the article argues against Białostocki's traditional reading of imitation as being driven by artistic influence, and, through the study of the city's mercantile and pilgrimage context, it proposes instead that a notion of imitation that was deeply immersed in sophisticate

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49

Alt, Gordon. "Andrea Verrocchio and His Followers: An Exhibition." Sculpture Review 68, no. 4 (2019): 8–15. http://dx.doi.org/10.1177/0747528420901913.

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Fifty exceptional works of Andrea del Verrocchio (1435-1488) are on exhibit at the National Gallery of Art in Washington DC. This important exhibit has sculpture, paintings and drawings of one of the most important Renaissance Masters of the fourteenth century. While considered foremost a master sculptor along with Donatello and Michelangelo, he was also noted for his important innovations in painting. As teacher, his workshop was the most important in Florence, and included the young Leonardo da Vinci, Pietro Perugino and Sandro Botticelli. His David and Boy with Dolphin are just of few of th

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50

Guillouët, Jean-Marie. "Des âmes drapées de pierre: Sculpture en Champagne à la Renaissance. Marion Boudon-Machuel. Renaissance. Tours: Presses Universitaires François Rabelais de Tours; Rennes: Presses Universitaires de Rennes, 2017. 342 pp. €39." Renaissance Quarterly 72, no. 2 (2019): 620–22. http://dx.doi.org/10.1017/rqx.2019.149.

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