Bibliografías temáticas / Art, Late Gothic

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Literatura académica sobre el tema "Art, Late Gothic"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de enero de 2023

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Artículos de revistas sobre el tema "Art, Late Gothic"

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Binski, P. "Late Gothic England: Art and Display". English Historical Review CXXIV, n.º 510 (17 de septiembre de 2009): 1156–57. http://dx.doi.org/10.1093/ehr/cep233.

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Li, Jinlin. "A Brief Analysis of Gothic Culture". Learning & Education 10, n.º 3 (7 de noviembre de 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.
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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, n.º 1 (7 de julio de 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.

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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.
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Teijeira Pablos, María Dolores. "La iconografía de Trifonte en el gótico final en los reinos de León y Castilla". Estudios humanísticos. Geografía, historia y arte, n.º 13 (15 de febrero de 2021): 287. http://dx.doi.org/10.18002/ehgha.v0i13.6855.

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<span>The three-faces man, a very common subject in gothic works of art from the late fifteenth century, combines the interest in pure ornamentation with a simbolism that is based on the relation profane-religious iconography, in the field of the discoveries of new Lands and the representation of fantastic creatures.</span>
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Buzás, Gergely. "A somogyvári bencés apátsági templom 16. századi újjáépítése és boltozata". Kaposvári Rippl-Rónai Múzeum Közleményei, n.º 2 (2013): 91–102. http://dx.doi.org/10.26080/krrmkozl.2013.2.91.

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The aim of the present article is to establish the chronology of the late Gothic rebuilding of the church of the Benedictine abbey of Somogyvár, to present a reconstruction of its nave vault erected at that time, and to analyse the art historical significance and dating of the vault, and the historial context of the construction.
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Demchuk, Stefaniia. "Late Gothic (Antwerp) Mannerism: its Origins, Nature and Decline (a Review of the Literature)". Text and Image: Essential Problems in Art History, n.º 2 (2021): 83–94. http://dx.doi.org/10.17721/2519-4801.2021.2.04.

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This essay does not strive to give a comprehensive review of literature on Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies. The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on the German origins, Vandenbroeck attributed it to an inflow of provincial artists. Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the attempt to fuse them with ‘realism’ of the Flemish Primitives seemed a revolutionary breakthrough following the pictorial crisis of the 1480s. Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of the intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism. The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough essay showed that the changes in iconography (such as reinvention of the well-known subject) could mark shifts in identity. By no means they are merely ‘anecdotic’ as Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there any secular subjects? How did the iconography of Antwerp art reflect the intersection of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the Antwerp Mannerists? Finding an answer to these and similar questions can provide a rich context for further studies on this ‘contrived’ but unique style.
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Lyudmirskaya, Alexandra. "“Brick” rationalism architecture in the eclecticism of religious buildings, public buildings and industrial enterprises of the Taganrog city in the late 19th and early 20th centuries". E3S Web of Conferences 281 (2021): 02012. http://dx.doi.org/10.1051/e3sconf/202128102012.

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The article analyzes the eclectic tradition in the architecture of religious buildings, public buildings and industrial enterprises of Taganrog, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches upon the specifics of the stylistic trends’ manifestation in the “brick style” rationalist architecture.
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Pérez Monzón, Olga. "La imagen del poder nobiliario en Castilla. El arte y las Órdenes Militares en el Tardogótico". Anuario de Estudios Medievales 37, n.º 2 (7 de diciembre de 2007): 907–56. http://dx.doi.org/10.3989/aem.2007.v37.i2.56.

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Findon, Joanne. "From Ireland Coming: Irish Art from the Early Christian to the Late Gothic Period and Its European Context ed. by Colum Hourihane". Arthuriana 13, n.º 3 (2003): 117–18. http://dx.doi.org/10.1353/art.2003.0012.

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Przybyłok, Arkadiusz. "A Figurine from Stare Bielsko - Sexuality in Middle Ages". International Letters of Social and Humanistic Sciences 12 (octubre de 2013): 1–6. http://dx.doi.org/10.18052/www.scipress.com/ilshs.12.1.

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Medieval authorities of the Church unequivocaly condemned sex in its all manifestations. At least, that was their formal stand in this case. Though, relics of the literature, art and archaeology undermine this „prudish” point of view. A ceramic figurine from late Middle Ages, found in Stare Bielsko, shows a couple that is having sex and can be a good example of not such sanctimonious way of thinking. Originally, the figurine could be a handle of a lid which was glazed green. It seems that figurine's ideological essence is not so far from social standards of decadent Gothic.
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Tesis sobre el tema "Art, Late Gothic"

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Kerrigan, Steven James. "Normandy's role in the development of the Flamboyant style: decoration, meaning, and exchange in Late Gothic architecture". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2542.

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This dissertation explores the significance of Norman Flamboyant architecture by considering its origins, its local meanings, and its place in the larger narratives of late medieval architectural history. This examination of Normandy's role in the development of the Flamboyant style includes a brief assessment of the historiography of the Late Gothic period, with emphasis on questions of regional and national identity. Since many elements of the Flamboyant style had been imported from the Decorated Style that developed in England, a country with which France was still at war when the Flamboyant began, the relationship between these traditions remains controversial even today. To address this controversy, this project examines the motivations of Norman patrons who employed these new forms in the context of the Hundred Years War, before going on to consider the later phases of the Flamboyant, adopted in Normandy after the expulsion of the English, and the demise of the style in the decades after 1500. By linking architectural form and social context, this work clarifies the history of Norman Gothic architecture and its cultural significance.
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Lubarino, Doglas Morais. "O juízo final e a missa de São Gregório (MASP 428P): pintura retabular e Eucaristia no final da Idade Média". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03122015-155702/.

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Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média.
Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.
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Siebert, Kristine. "Kelche der ausgehenden Romanik bis zur Spätgotik". Doctoral thesis, 2015. http://hdl.handle.net/11858/00-1735-0000-0023-3E32-0.

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Faria, Higino Abreu. "Escultura Arquitetónica na Sé do Funchal: das Formas e Temas do Gótico-Tardio Internacional à Simbólica Manuelina do Poder". Master's thesis, 2013. http://hdl.handle.net/10316/35988.

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Fiřt, Jan. "Recepce nizozemského realismu v pozdně gotické deskové malbě v Čechách". Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353532.

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The dissertation deals with the reception of Dutch realism in the late Gothic panel painting in Bohemia. Its aim is to examine the principles of reception of new artistic forms and ideas that originated in the Dutch art centers in the 15th century. The Czech painting of the 15th century was adopting these innovative trends exclusively from the neighbouring countries. Therefore, the work addresses mainly issues related to artistic exchanges between Bohemia and the surrounding - mostly German-speaking - regions. It looks into the specific ways in which artistic exchange took place - the mobility of artists, art imports, the importance of graphic and other models. The dissertation focuses on the most important examples that show the reception of Dutch realism: The Ark of Grand Master Puchner, The Křivoklát Altarpiece, and works associated with it. These matters are addressed mainly through a formal stylistic analysis and formal comparison. In the case of the Puchner Ark, via these methods, it has been possible to point out a possible artistic basis of the author in Swabia - within a circle of the followers of the Master of the Sterzing Altarpiece. The dissertation has tried to prove the artistic origin of the Master of the Litoměřice Altarpiece within the circle of the Ulm painter B. Zeitblom. These...
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Libros sobre el tema "Art, Late Gothic"

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Rossi, Marco. Giovannino de Grassi: La corte e la cattedrale. Cinisello Balsamo (Milano): Silvana, 1995.

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Buchholz, Marlies. Anna selbdritt: Bilder einer wirkungsmächtigen Heiligen. Königstein im Taunus: Langewiesche, 2005.

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Semenzato, Camillo. Arte en Europa hacia 1492: Pintura, escultura, arquitectura, artes aplicadas. Madrid: Grupo Anaya, 1992.

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Der Stil des Neuen: Die europäische Renaissance. Stuttgart: Klett-Cotta, 1997.

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Cheshskai͡a gotika ėpokhi rast͡sveta, 1350-1420. Moskva: Izd-vo Nauka, 1998.

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Semenzato, Camillo. Genio e botteghe: L'arte nell'Europa tra Medio Evo ed età moderna. Milano: Editoriale Giorgio Mondadori, 1992.

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Wagner, Velten. Der Meister H. L. an Oberrhein und Donau. München: Tuduv, 1993.

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Bellosi, Luciano. Come un prato fiorito: Studi sull'arte tardogotica. Milano: Jaca book, 2000.

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Bellosi, Luciano. Come un prato fiorito: Studi sull'arte tardogotica. Milano: Jaca book, 2000.

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Picturing women in late Medieval and Renaissance art. New York: Manchester University Press, 1997.

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Capítulos de libros sobre el tema "Art, Late Gothic"

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Stokstad, Marilyn. "Late Gothic Art". En Medieval Art, 335–53. 2a ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-12.

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Stokstad, Marilyn. "Late Gothic Art". En Medieval Art, 335–53. Routledge, 2018. http://dx.doi.org/10.4324/9780429495038-12.

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Stoddard, Whitney S. "Late Gothic Sculpture". En Art and Architecture in Medieval France, 335–42. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-33.

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Grunenberg, Christoph. "American Gothic Art". En American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0009.

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This essay surveys the gothic in American art from its earliest influence by 18th- and 19th-century British culture to gothic boom in late 20th- and early 21st-century culture. The gothic links not only to goth subculture of the 1980s but also to multiple expressions in film, music, fashion, design and architecture. This cross-pollination between art, literature and more ephemeral forms of gothic popular culture is a a typical product of postmodernism. American gothic has become a ubiquitous signifier for dark moods in times of change and crisis as expressed in a contemporary mordant mindset, the liberal indulgence in horror, macabre images and flirting with disaster.
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"5. Otto Pächt and ‘National’ Constants in Late Gothic Painting". En The New Vienna School of Art History, 135–66. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9781474489782-011.

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Loman, Andrew. "The Devil in the Slum: American Urban Gothic". En American Gothic Culture. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401616.003.0006.

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This chapter focuses on the emergence of American urban gothic in literature of the late Antebellum. From roughly 1840 to 1860 a community of writers organized an extant urban gothic vocabulary into a popular and influential subgenre, city-mysteries, which ostentatiously announced their link to the gothic novel. These mysteries were intimately intertwined with urban reportage of the so-called ‘flash press’ among other art forms, especially the stage.
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Johns, Ann. "Cistercian Gothic in a Civic Setting: The Translation of the Pointed Arch in Sienese Architecture, 1250–1350". En Art as Politics in Late Medieval and Renaissance Siena, 39–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315096933-3.

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Kelly, Catriona. "The Power of Irony". En Soviet Art House, 415–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0019.

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The 1970s saw a mass exodus of younger, artistically ambitious directors from moviemaking for the big screen into TV. Among the beneficiaries of the new medium was Igor Maslennikov, who had struggled to establish himself as more than “promising.” Maslennikov’s TV adaptations of Sherlock Holmes rapidly made him one of the most famous filmmakers in the USSR. The main subject of this chapter, however, is an adaptation for “quality TV” of a different kind, The Queen of Spades, by Russia’s most famous writer, Alexander Pushkin. Where Maslennikov’s Conan Doyle adaptations were studiedly casual (The Hound of the Baskervilles is an exercise in playful eccentricity rather than a plunge into Victorian Gothic), his reworking of Pushkin went precisely in the other direction. This “hyperauthentic” interpretation of the Russian author sought to retain “every last comma” in the original, right down to scene-setting commentaries presented by an on-screen narrator. As this chapter argues, had it not been for the exceptionally vexed history of attempts to film The Queen of Spades (Maslennikov was the fourth director selected to make the movie), his “hyperauthentic” approach might have proved more controversial. Whichever way, the adaptation more closely resembles late modernist films of the era such as Eric Rohmer’s The Marquise of O than the conventional literary adaptations of the later Soviet era, which came from a tradition where reconstructing the source text was the accepted norm.
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"Converso Patronage, Self-Fashioning, and Late-Gothic Art and Architecture in 15th-Century Castile". En Jews and Muslims Made Visible in Christian Iberia and Beyond, 14th to 18th Centuries, 161–86. BRILL, 2019. http://dx.doi.org/10.1163/9789004395701_009.

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"How to Design and Build Complex Rib Vaults from A to Z Principles, Practices, and Geometric Processors in International Late Gothic". En The Art of Vaulting, 43–78. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035618358-004.

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Actas de conferencias sobre el tema "Art, Late Gothic"

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Rodríguez Cantalapiedra, Pedro. "Rigour, methodology and use, success in heritage conservation: The tower of the St. Mary Magdalene`s church." En HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15610.

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The church of Santa María Magdalena of Matapozuelos (Valladolid) from the sixteenth century, made of Mudejar masonry brickwork combines late Gothic with Renaissance elements, is a Cultural Interest Asset. Its prominent tower is the object of this project. It was proposed the tower is restored to its original monumental value and condition, giving it a new life. The most significant change has been the installation of a fixed staircase extending the existing one to access the bell tower and upper levels, allowing controlled access for visitors and creating a more open and bright interior space, giving it a more functional sense, without losing the permeability of the bell tower. The research begins with the previous studies: historical, archaeological, petrological, photogrammetric and architectural, justifying the action theoretically. This led to the use of traditional methods and materials from the surrounding area in order to preserve the vernacular heritage: the tejar brickwork, the wood in the floorboards and woodwork (specifically elm wood), the vault cladding and the lime rendering of the walls, are highlighted. The problems were identified by classifying them according to their degree of complexity and a project diagnosis was made that served to take the necessary measures for their restoration. Three levels of intervention are established according to their volume of affection, three action groups are proposed according to the nature of the objective to fulfil, and three actions are qualified according to the contribution to the building to be preserved: repair, replacement or addition. This time of methodological study makes us achieve an exhaustive knowledge and a sensory closeness to the building, which makes us "feel it inside": History in architecture is important when it becomes blood. (Ignazio Gardella. Verona 1991. Conference: "My first 90 years in Architecture").
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Chen, Yen-Shu, Ansheng Lin y Yng-Ruey Yuann. "Effects of the RHR Return Line Elevation to the Suppression Pool Temperature of the Lungmen ABWR Containment". En 2013 21st International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icone21-16540.

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Lungmen Nuclear Power Plant in Taiwan is a twin-unit Advanced Boiling Water Reactor (ABWR) plant. In this study, a long-term GOTHIC model for the Lungmen ABWR primary containment response analysis is established. The wetwell space is vertically divided into several volumes to catch the pool temperature stratification effect. The long-term containment responses for a double-ended feedwater line break (FWLB) accident are calculated. The fuel decay heat is absorbed by the reactor coolant, and the coolant flows to the containment via the broken line. The suppression pool is gradually heated up by the high-temperature gas-water mixture following through horizontal vents. To reduce the pool temperature, the Residual Heat Removal (RHR) system will be required to operate in the suppression pool cooling mode. The RHR pumps have suction flow from suppression pool and discharge it to the RHR heat exchangers for cooling. The cooled water then returns to the pool. An elevated RHR return line is desired to avoid the cooled water being directly sucked again. The wetwell temperature stratification associated with the RHR return line elevation is investigated in this study. Effects of the RHR return line elevation on the pool temperature can be determined since the whole wetwell space is not lumped as a node only. The calculated peak pool temperature is 92.6°C based on the plant piping configuration. The peak temperature can be reduced to 88.9°C by returning the water via the wetwell spray spargers located in the top of the wetwell. However, it should be noted that using the wetwell spray also pressurizes the wetwell because the pool water temperature is higher than that of airspace during the late period of the event. Returning the pool water via the wetwell spray spargers is not suggested because it causes long-term wetwell pressurization.
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