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Relevant bibliographies by topics / Still-life painting, American

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Journal articles

Academic literature on the topic 'Still-life painting, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Still-life painting, American"

1

Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.

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Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object o

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2

Quintanar Cabello, Vanessa. "“in questa parto alcuni inconita et non peiu uisto”: American flora and fauna in the collections of the Museo del Prado." Aulas Museos y Colecciones de Ciencias Naturales 8- 2021 (2021): 27–41. http://dx.doi.org/10.29077/aula.8.3/quintanar.

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The arrival of dozens of plants and animals from America after the Europeans’ encounter with this continent attracted attention from the most diverse fields of knowledge. Doctors and botanists, for example, devoted hundreds of pages to these exotic species. But the world of the arts was not alien to their arrival and throughout the Modern Age, paintings from all over Europe were populated with sunflowers, turkeys or macaws. A good example of this can be found in the collections of the Prado Museum, where American flora and fauna found a place not only in still-life painting, but also in works

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3

Quintanar Cabello, Vanessa. "in questa parto alcuni inconita et non peiu uisto”: American flora and fauna in the collections of the Museo del Prado." Aulas Museos y Colecciones de Ciencias Naturales 8 (2021): 27–41. http://dx.doi.org/10.29077/aula.8.3_quintanar.

Full text

Abstract:

The arrival of dozens of plants and animals from America after the Europeans’ encounter with this continent attracted attention from the most diverse fields of knowledge. Doctors and botanists, for example, devoted hundreds of pages to these exotic species. But the world of the arts was not alien to their arrival and throughout the Modern Age, paintings from all over Europe were populated with sunflowers, turkeys or macaws. A good example of this can be found in the collections of the Prado Museum, where American flora and fauna found a place not only in still-life painting, but also in works

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4

Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire hi

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5

Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.

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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that cause

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6

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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7

Press, BRIT. "The Forest: A Fable of America in the 1830s." Journal of the Botanical Research Institute of Texas 17, no. 1 (2023): 322. http://dx.doi.org/10.17348/jbrit.v17.i1.1314.

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From the Publisher: Set amid the glimmering lakes and disappearing forests of the early United States, TheForest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuringboth real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisansliving and working in a world still made largely of wood. Some of the historical characters—such as ThomasCole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are wellknown,while others are not. But all are creators of private and grand d

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8

ROTSKOFF, LORI E. "Decorating the Dining-Room: Still-Life Chromolithographs and Domestic Ideology in Nineteenth-Century America." Journal of American Studies 31, no. 1 (1997): 19–42. http://dx.doi.org/10.1017/s0021875896005543.

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On several occasions during the late 1860s, the novelist Harriet Beecher Stowe exhorted readers to adorn their homes with chromolithographs, color prints which reproduced original oil-paintings or, less often, depicted images created specifically for the print medium. In her 1869 domestic advice manual, The American Woman's Home, co-authored with her sister Catharine Beecher, Stowe described chromolithographs (or “chromos,” as they were commonly called) as essential components of a properly embellished home interior. In proposing a hypothetical budget devoted to parlor furnishings, the authors

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9

Keller, Harold W. "The Forest: A Fable of America in the 1830s." Journal of the Botanical Research Institute of Texas 17, no. 2 (2023): 540. http://dx.doi.org/10.17348/jbrit.v17.i2.1330.

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Abstract:

From the Publisher: Set amid the glimmering lakes and disappearing forests of the early United States, The Forest imagines how a wide variety of Americans experienced their lives. Part truth, part fiction, and featuring both real and invented characters, the book follows painters, poets, enslaved people, farmers, and artisans living and working in a world still made largely of wood. Some of the historical characters—such as Thomas Cole, Margaret Fuller, Nathaniel Hawthorne, Fanny Kemble, Edgar Allan Poe, and Nat Turner—are well-known, while others are not. But all are creators of private and g

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10

Ette, Ottmar. "Magic Screens. Biombos, Namban Art, the Art of Globalization and Education between China, Japan, India, Spanish America and Europe in the 17th and 18th Centuries." European Review 24, no. 2 (2016): 285–96. http://dx.doi.org/10.1017/s1062798715000630.

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Garcilaso de la Vega el Inca, for several centuries doubtlessly the most discussed and most eminent writer of Andean America in the 16th and 17th centuries, throughout his life set the utmost value on the fact that he descended matrilineally from Atahualpa Yupanqui and from the last Inca emperor, Huayna Cápac. Thus, both in his person and in his creative work he combined different cultural worlds in a polylogical way.1 Two painters boasted that very same Inca descent – they were the last two great masters of the Cuzco school of painting, which over several generations of artists had been an in

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