Relevant bibliographies by topics / Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits"

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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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Honcharuk, Oleksandr. "Portrait sculpture of Lviv on the border of modernism and postmodernism." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 25–30. http://dx.doi.org/10.37131/2524-0943-2019-41-03.

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Main vectors of develovpment of portrait sculpture in Lviv of 90s of the XX century in the context of the time. Changes, which occured in art, were identified; where new environment is being formed, in which portrait sculpture becomes an object of preservation and transmission of information. It’s proved that visualization of Ukrainian history is mainly due to developments in individual personification of events of prominent leaders of their time. The analysis of a number of sources related to the peculiarities of artistic and critical understanding of complex creative processes specific to Lv
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Marian, Ana. "Modeling techniques and plastic methods in the creation of Moldovan sculptural portraits." Arta 30, no. 1 (2021): 80–86. http://dx.doi.org/10.52603/arta.2021.30-1.12.

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“In many respects the expressiveness of sculpture depends on the correspondence between the idea and material,” wrote the great Russian sculptor S.T. Konenkov. This undeniable truth determined the nature of this research, in which we set out to trace how modeling techniques contributed to plastic methods, to what extent the idea of a sculptural work was brought to life with the help of skillfully processed material. So, regardless of the material and technique chosen by the author, a sculptural portrait presupposes the presence of classical research as a shape, volume, texture and last but not
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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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Snežana, Filipova. "Notes About the Commemoration of the Powerful Menin the Medieval Art in Macedonia." European Journal of Interdisciplinary Studies 2, no. 1 (2016): 68. http://dx.doi.org/10.26417/ejis.v2i1.p68-73.

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Rulers’ portraits as symbols of the institution of monarchy were used on coins, legal acts and seals, as a guarantee of authenticity and legal effectiveness. They are usually the highest category of propaganda images. Each civilization has the praxis of representing to a certain extent real or “beatified” image or portrait of the emperor. By adding various symbols of power, like crowns, caps, beard, throne, supendium, chariot, and number of the animals driving it, we are directly observing the image of the most powerful representatives of people, nations, states, empires, era, usually blessed
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Snežana, Filipova. "Notes About the Commemoration of the Powerful Menin the Medieval Art in Macedonia." European Journal of Interdisciplinary Studies 4, no. 1 (2016): 68. http://dx.doi.org/10.26417/ejis.v4i1.p68-73.

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Rulers’ portraits as symbols of the institution of monarchy were used on coins, legal acts and seals, as a guarantee of authenticity and legal effectiveness. They are usually the highest category of propaganda images. Each civilization has the praxis of representing to a certain extent real or “beatified” image or portrait of the emperor. By adding various symbols of power, like crowns, caps, beard, throne, supendium, chariot, and number of the animals driving it, we are directly observing the image of the most powerful representatives of people, nations, states, empires, era, usually blessed
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Honcharuk, Oleksandr. "A sculptural portrait in the work of Emmanuil Myskо: the evolution of plastic language". Bulletin of Lviv National Academy of Arts, № 40 (1 липня 2019): 55–60. http://dx.doi.org/10.37131/2524-0943-2019-40-7.

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In this article a complex analysis of visual structural features in portraits series of representatives of Ukrainian intellectuals, which was created by E. Myskо. In particular, there were identi ed the speci city of visual interpretations and conceptual foundations of that series in view of professional and personal characteristics portrayed. Except that in this article have been made comparative analysis of the essential series, which displayed the unique character and features of Emmanuil Mysko’s artistic style, his method of working with nature, and especially visual features of pictured c
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Paulová, Eva. "Prague Spring in the Drawings of Karel Otáhal." Musicalia 8, no. 1-2 (2016): 13–21. http://dx.doi.org/10.1515/muscz-2017-0001.

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This study reports on interesting holdings in the musical iconography collection of the Czech Museum of Music. Drawings by the sculptor Karel Otáhal (1901–1972) that are related to music and musicians were created for the most part at concerts of the Prague Spring festival between 1946 and 1969. He had already begun making portraits of musicians by the end of his studies, when he created a sculpture of Jan Kubelík. His works are a specific expression of portrait realism and of the ability to capture the typical movement and characteristics of the person depicted. He met in person with musician
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Lenaghan, Julia. "The Lost shield portraits of Aphrodisias. Reflections on Style and Patronage." Acta ad archaeologiam et artium historiam pertinentia 30 (March 20, 2019): 189–216. http://dx.doi.org/10.5617/acta.6871.

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The paper re-examines a series of lost shield portraits discovered by Paul Gaudin in Aphrodisias in 1904-1905. It focuses on three aspects of these objects: the technical details of the carving and choice of model (style), the structural specifications (manufacture), and the subject matter (iconography and theme). It endeavors to place these objects in the context of other shield portraits found more recently at Aphrodisias and to evaluate them in light of recent scholarship on late antique sculpture. It stresses the similarities between these shield portraits and others from the site and refl
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Ramage, Nancy H., and Jane Fejfer. "The Ince Blundell Collection of Classical Sculpture 1: The Portraits; 2: The Roman Male Portraits." American Journal of Archaeology 104, no. 1 (2000): 147. http://dx.doi.org/10.2307/506815.

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Dissertations / Theses on the topic "Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits"

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Shain, Jeanne Ungemach. "Portraits in flight /." Online version of thesis, 1996. http://hdl.handle.net/1850/11905.

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Zehm, Ursula. "Die Geschichte des Doppelstandbildes : im deutschsprachigen Raum bis zum 1. Weltkrieg, mit beschreibendem Katalog /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 1995. http://catalogue.bnf.fr/ark:/12148/cb40921935t.

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Tomović, Miodrag. "Roman sculpture in Upper Moesia /." Beograd : Archeological institute, 1993. http://catalogue.bnf.fr/ark:/12148/cb38945209q.

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Kreikenbom, Detlev. "Griechische und römische Kolossalporträts bis zum späten ersten Jahrhundert nach Christus /." Berlin : W. de Gruyter, 1992. http://catalogue.bnf.fr/ark:/12148/cb410963373.

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Özgan, Ramazan. "Die griechischen und römischen Skulpturen aus Tralleis /." Bonn : R. Habelt, 1995. http://catalogue.bnf.fr/ark:/12148/cb372215012.

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Jaeggi, Othmar. "Die griechischen Porträts : Antike Repräsentation - Moderne Projektion /." Berlin Reimer, 2008. http://d-nb.info/986863106/04.

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Piekarski, Dirk. "Anonyme griechische Porträts des 4. Jhs. v.Ch. : Chronologie und Typologie /." Rahden/Westfalen : M. Leidorf, 2004. http://catalogue.bnf.fr/ark:/12148/cb39276231p.

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Texte remanié de: Inaug.-Diss.--Philosophische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 2003. Titre de soutenance : Studien zu anonymen griechischen Porträts des 4. Jhs. v. Chr.<br>Notes bibliogr. Résumé en allemand et en anglais.
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Moisan-Dufour, Olivier. "Portraits de l'objet abstrait." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37728.

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356181\u Ce mémoire est une réflexion philosophique sur l’infini et l’indéfini, champ de recherche en arts visuels en relation avec ma pratique personnelle. Je vous propose une recherche basée sur les enjeux impliqués dans la construction, la présentation et la représentation de mes œuvres produites au cours de ma maîtrise, soit de 2017 à 2019. Ce projet d’écriture accompagne l’exposition «Reproduire l’improbable », qui a pour but d’amplifier l’appréciation de l’objet abstrait en présentant son portrait en peinture.
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Seilheimer, Horst. "Form und Kopienkritische Untersuchungen zum hellenistischen Porträt /." Saarbrücken : Univ. des Saarlandes, 2002. http://catalogue.bnf.fr/ark:/12148/cb39164769w.

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Hallett, Christopher H. "The Roman nude : heroic portrait statuary 200 BC-AD 300 /." Oxford : Oxford university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40979695t.

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Books on the topic "Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits"

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Facing sculpture: A portfolio of portraits, sculpture and related ideas. Image Spring Press, 2004.

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Mikāne, Vija. Model̦stundas. Zinātne, 2005.

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Die Portraits Julianus Apostatas. Kovač, 2008.

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1882-1935, Lachaise Gaston, Christman Margaret C. S, and National Portrait Gallery (Smithsonian Institution), eds. Gaston Lachaise: Portrait sculpture. National Portrait Gallery, Smithsonian Institution in association with the Smithsonian Institution Press, 1985.

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Zehm, Ursula. Die Geschichte des Doppelstandbildes: Im deutschsprachigen Raum bis zum 1. Weltkrieg, mit beschreibendem Katalog. VDG, Verlag und Datenbank für Geisteswissenschaften, 1995.

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Åsen, Kjell. Anne Grimdalen: Kunstnar og medmenneske. Lunde, utgjeve i samarbeid med Anne Grimdalens minne, 1999.

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Flemming, Johansen. Roman portraits: Ny Carlsberg glyptotek. Ny Carlsberg glyptotek, 1994.

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Boschung, Dietrich. Die Bildnisse des Augustus. Gebr. Mann, 1993.

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Boschung, Dietrich. Die Bildnisse des Caligula. Gebr. Mann, 1989.

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Musée du Louvre. Catalogue des portraits romains. Ministère de la culture et de la communication, Editions de la Réunion des musées nationaux, 1986.

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Book chapters on the topic "Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits"

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Queyrel, François. "8. The Portraits of the Ptolemies." In Handbook of Greek Sculpture, edited by Olga Palagia. De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-008.

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Arba, Eleonora. "Per la ritrattistica di Antonio Montauti. Tre busti inediti di eruditi fiorentini." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.11.

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This paper presents for the first time three plaster sculptures made by the Florentine artist Antonio Montauti (1683-1746) and currently preserved at the Biblioteca Roncioniana in Prato. The subjects of these portraits are Tuscan literates and academics Anton Maria Salvini, Francesco Baldovini and Giovanni Battista Casotti. The three busts were most likely made around 1713: this date is indicated on Salvini’s portrait, allowing us to speculate on the existence of a series of portraits of Florentine literates, much like Montauti’s famous series dedicated to Tuscan illustrious men (Ficino and Machiavelli amongst others). These busts also give us the chance to take a further look at Montauti’s style, unveiling his interest towards antique sculpture at such an early stage of his activity.
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Rupprecht Goette, Hans. "9. The Portraits of Herodes Atticus and His Circle." In Handbook of Greek Sculpture, edited by Olga Palagia. De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-009.

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"The reuse of sculpture and recarving of portraits." In From Face to Face. BRILL, 2011. http://dx.doi.org/10.1163/9789004192324_003.

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Deyts, Simone, and Jacques Meissonnier. "Réhabilitation des deux portraits d’Hadrien découverts à Saincaize (Nièvre) en 1861." In La sculpture romaine en Occident. Publications du Centre Camille Jullian, 2016. http://dx.doi.org/10.4000/books.pccj.12608.

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Mongibeaux, Stéphanie. "Quelques portraits de Vesunna, capitale de la civitas des Pétrucores (Périgueux)." In La sculpture romaine en Occident. Publications du Centre Camille Jullian, 2016. http://dx.doi.org/10.4000/books.pccj.12788.

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Galinier, Martin. "Construire la mémoire : portraits de Trajan, de son vivant et après sa mort." In La sculpture romaine en Occident. Publications du Centre Camille Jullian, 2016. http://dx.doi.org/10.4000/books.pccj.12447.

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"Speared Heads. Portraits as Things in 20th–Century Sculpture." In Art History and Fetishism Abroad. transcript-Verlag, 2014. http://dx.doi.org/10.14361/transcript.9783839424117-003.

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Montel, Sophie. "Portraits « romains » de la collection Pierre-Adrien Pâris au Musée des Beaux-arts et d’archéologie de Besançon." In La sculpture romaine en Occident. Publications du Centre Camille Jullian, 2016. http://dx.doi.org/10.4000/books.pccj.14147.

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"Chapter One The reuse of sculpture and recarving of portraits." In From Face to Face. BRILL, 2016. http://dx.doi.org/10.1163/9789004324558_003.

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Conference papers on the topic "Sculpture de portraits Sculpture de portraits Sculpture de portraits Sculpture de portraits"

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Lu, Min, Yujin Zhang, Bo Zheng, et al. "Portrait sculptures of Augustus: Categorization via local shape comparison." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743812.

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