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Books on the topic 'Tiles, Baroque'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Janssen-Holldiek, Walter. Renaissance- und Barock-Ofenkacheln aus Funden auf zwei Linteler Althöfen, Gemeinde Hude, 1976-1980: Zugleich eine kleine Kachelofenkunde. Isensee, 1996.

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2

Maia, Pedro Moacir. Vistas e festas lisboetas em azulejos na Bahia. Instituto do Patrimônio Artístico e Cultural, 2002.

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3

Rocha, Luzia. Cantate Dominum: Música e espiritualidade no azulejo barroco. Edições Colibri, 2015.

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4

Carvalho, Rosário Salema de. Azulejo em Braga: O largo tempo do Barroco = Azulejo in Braga : the baroque period. Centro Atlantico.PT, 2016.

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5

Eusébio, Joaquim. Santo António em azul e branco. Centro de Estudos e de Investigação de Santo António, 2021.

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6

Portugal) Colóquio Sacræ imagines (1st 2013 Évora. Sacræ imagines: Actas do I Colóquio : Ciclos de iconografia cristã na azulejaria : Universidade de Évora, Colégio do Espírito Santo, 24, 25 e 26 Outubro de 2013. Bens Culturais da Igreja, Secretariado Nacional, 2013.

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7

Carvalho, Rosário Salema de. A igreja de São Victor: The church of Saint Victor : Braga. Centro Atlantico.PT, 2017.

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8

Lara, María Dolores Ortiz. Patio de los azulejos: Lectura de un edificio. UDLA Editorial, 2015.

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9

Calabrese, Omar. Neo-Baroque: A sign of the times. Princeton University Press, 1992.

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10

Calabrese, Omar. Neo-Baroque: A sign of the times. Princeton University Press, 1992.

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11

Chong, Kevin. Baroque-a-nova: A novel. Penguin Canada, 2003.

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12

1922-, Sampson Richard, ed. White Induna: George Westbeech and the Barotse people : the story and times of George Westbeech in British Central Africa, 1844-1888. Xlibris Corporation, 2008.

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13

Azulejaria barroca portuguesa: Figuras de convite. Edições Inapa, 1993.

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14

Preston, VK. Baroque Relations. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.34.

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This chapter approaches dance archives and reenactment through analyses of the use of precious metals in drawings of dancers by the seventeenth-century French artist Daniel Rabel. Examining the artist’s album at the Louvre, Preston studies the visual effects of images and materials, testifying to French reimaginings of Indigenous performance practices in early seventeenth-century ballets in Paris. Turning to verse and livrets by René Bordier and Claude de l’Estoile, a founding member of the French Academy, she relates Rabel’s drawings to Andean dance, theater, and performance traditions in Cuz

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15

Lambert, Charles, and Omar Calabrese. Neo-Baroque: A Sign of the Times. Princeton University Press, 2017.

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16

Lambert, Charles, and Omar Calabrese. Neo-Baroque: A Sign of the Times. Princeton University Press, 2017.

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17

Lambert, Charles, and Omar Calabrese. Neo-Baroque: A Sign of the Times. Princeton University Press, 2017.

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18

Chong, Kevin. Baroque - A - Nova. Penguin Books, 2003.

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19

Baroque-a-nova. Putnam's, 2002.

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20

Publishing, Friedman-Fairfax. The Baroque Era: 1600-1750 (The Life, Times, & Music Series). Friedman/Fairfax Publishing, 1992.

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21

Baroque-a-nova: A novel. Penguin Books, 2001.

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22

Art and Archaeology of Rome: From Ancient Times to the Baroque. Riverside Book Company, 2000.

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23

Siblin, Eric. Cello Suites: In Search of a Baroque Masterpiece. Penguin Random House, 2010.

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24

Siblin, Eric. Cello Suites: J. S. Bach, Pablo Casals, and the Search for a Baroque Masterpiece. Grove/Atlantic, Incorporated, 2011.

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25

Campe, Rüdiger. Is “the Political” a Romantic Concept? Edited by Jens Meierhenrich and Oliver Simons. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199916931.013.41.

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This chapter analyzes Carl Schmitt’s concept of the political from the vantage point of German Romanticism. For Schmitt, Romanticism wasan intellectual attitude that precluded the concept and practice of “the political.” Through an in-depth reading of a preeminent document of political thought in German Romanticism, Novalis’s Love and Faith, this chapter considers and qualifies this view, arguing that “political theology” can be understood as a reaction to the French Revolution rather than as a tradition reaching back to medieval or baroque times. This chapter also argues that Novalis’s famous

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26

The golden book of Rome and the Vatican: From ancient times to the Middle Ages, to the luminous Renaissance and Baroque eras. Bonechi, 2008.

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27

Gooley, Dana. PreludeThe Virtue of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0001.

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IN RECENT TIMES improvisation has made a significant comeback in classical music concerts, education, and scholarship. Pianist Robert Levin has injected fresh life into Mozart by improvising ornaments, lead-ins, and whole cadenzas to Mozart concertos. More impressively still, he plays free fantasies in Mozart style on themes given by the concert audience. Gabriela Monteiro has built a distinctive reputation among concert pianists by improvising at length on themes solicited from the audience, drawing on an eclectic range of styles from Bach-like baroque to modern jazz. Early music practitioner

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28

Bontemps, Arna, ed. First, the French. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0001.

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This chapter focuses on the early French in Illinois and tells the story of the state's first black settler, Jean Baptiste Point Du Sable. The scant documentary records of colonial Illinois include the report of a crude census conducted in 1732. Negroes at that time numbered 69 men, 33 women, and 64 children, as compared with 159 white men, 39 women, and an uncertain number of children. The chapter considers a number of factors that connect Jean Baptiste De Saible and the ancient Du Sable family of French ancestry, and suggests that his patronage may be accounted for by a custom of the times:

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29

The Social History of Art: From Prehistoric Times to the Middle Ages (Social History of Art (Routledge)). Routledge, 1999.

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