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Artículos de revistas sobre el tema "French House decoration"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Trentin, Summer. "REALITY, ARTIFICE, AND CHANGING LANDSCAPES IN THE HOUSE OF MARCUS LUCRETIUS IN POMPEII." Greece and Rome 66, no. 1 (2019): 71–92. http://dx.doi.org/10.1017/s0017383518000323.

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In the 1855 edition of his guide to Pompeii, the French artist and archaeologist Ernest Breton begins a chapter on the city's houses and shops with a print showing tourists in a grand Pompeian residence (figure 1). At the rear of an atrium with an enormous impluvium, a man contemplates a raised garden while a well-dressed couple approaches from the right. Behind them, in the roofless remains of the house, the garden's ancient sculptural display remains in situ; animals and deities inhabit a landscape dominated by a shrine-like niche, a pool, and pillars painted with trees. Deep shadows and enc

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2

Coombs, Bryony. "Material Diplomacy: A Continental Manuscript Produced for James III, Edinburgh University Library, MS 195." Scottish Historical Review 98, no. 2 (2019): 183–213. http://dx.doi.org/10.3366/shr.2019.0400.

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This paper examines a late medieval manuscript produced in northern France and Flanders for a member of the Scottish royal house: Edinburgh University Library, MS 195. The manuscript contains an ornate representation of the royal arms of Scotland, supported by two unicorns. It was commissioned for James III c. 1464–7. Despite its royal provenance, the manuscript has received limited scholarly attention. The text and illuminations are analysed in order to shed light on their origins and on the circumstances of their production. The manuscript is an important example of a continental work produc

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3

Kelley, Diane. "Curating Zilia: The Temple du soleil in Graffigny's Lettres d'une Péruvienne." Studies in Eighteenth-Century Culture 53, no. 1 (2024): 265–85. http://dx.doi.org/10.1353/sec.2024.a918571.

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Abstract: Françoise de Graffigny's Lettres d'une Péruvienne repeatedly highlights a collection of Peruvian treasures. Graffigny's description of these objects, both when they are on display in Zilia's private room in a French convent and in the Temple du soleil in her country house at the end of the novel, invokes a vocabulary drawn from eighteenth-century French standards of stylish interior design and private collecting. Social status in eighteenth-century France was performative; demonstrating one's own good taste with the displays in a well-decorated room or a private collection communicat

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4

Coombs, Bryony. "The artistic patronage of John Stuart, Duke of Albany, 1520–30." Proceedings of the Society of Antiquaries of Scotland 147 (November 21, 2018): 175–217. http://dx.doi.org/10.9750/psas.147.1251.

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The Sainte-Chapelle at Vic-le-Comte is one of the most important religious buildings surviving from the 16th century in the Auvergne. It was the last of ten French royal and ducal chapels founded, broadly following the precedent set by Louis IX’s foundation of the Parisian Sainte-Chapelle in 1248. The primary function of this, and the other Saintes-Chapelles, was to provide a dignified structure within which to house fragments of the Passion relics inherited from Louis IX. For their patrons, such foundations served as important public expressions of piety, advertised the patrons’ connections t

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5

Shapovalova, Elena V. "The Motif of Calvary in the chapelles ardentes of the Princes of Lorraine (1589)." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences 22, no. 5 (2022): 15–27. http://dx.doi.org/10.37482/2687-1505-v212.

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This article dwells on the memorial services for Henry I, Duke of Guise, and Louis II, Cardinal of Guise, who were assassinated in Blois at the order of King Henry III of France. These services were special due to the arrangement of symbolic chapelles ardentes (‘burning chapels’) in the churches. The decoration of these chapels reflected not only the religious and political ideas of adherents of the Guise brothers, but also changes in religious art unrelated to the particular event. For instance, the prevalent motif of Calvary, which by the late 16th century had become common in the interiors

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6

Glamazda, Svetlana N. "Specific features of proxemic informative text structure in The Portrait of a Lady by H. James." Izvestiya of Saratov University. Philology. Journalism 24, no. 2 (2024): 162–68. http://dx.doi.org/10.18500/1817-7115-2024-24-2-162-168.

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The article deals with the English text space. The purpose of the study is to identify the specific features of the proxemic informative text structure of H. James’s The Portrait of a Lady. A new concept of “proxemic informative text structure” is introduced into text theory as a segment of text architectonics that describes the spatial parameters nominated by proxemes. Proxemes are considered as nominations of spatial parameters of the text. The typology of textual proxemes is specified and the existing proxemes-spacenаmes, proxemes-verbs of movement, proxemes-placenames, proxemes-landscape u

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7

De Coster, Annie. "The Bibliotheca Wittockiana in Brussels: collecting and exhibiting bindings." Art Libraries Journal 33, no. 3 (2008): 30–33. http://dx.doi.org/10.1017/s0307472200015455.

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The Bibliotheca Wittockiana in Brussels houses an impressive array of bindings that shows the glories of this very special decorative art. The collection does not aim to be an exhaustive historical survey, but reflects the taste of one man, Michel Wittock, beginning with his early interest in 16th-century Italian bindings and later those of 19th-century France, and culminating in many beautiful examples of abstraction in French and Belgian bindings of the 20th century. These works are housed in a purpose-built 1980s building designed by Emmanuel de Callatay and extended 15 years later by Witto

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8

Al Shihabi, Diane Viegut. "American Beaux-Arts Architects and The Decoration of Houses : Elucidating French Academic Influences for a Seminal Literary Work." Journal of Interior Design 40, no. 3 (2015): 39–60. http://dx.doi.org/10.1111/joid.12049.

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9

Polyakov, E. N., and T. V. Donchuk. "FINAL CREATIVE WORKS OF HECTOR GERMAIN GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 22, no. 1 (2020): 9–30. http://dx.doi.org/10.31675/1607-1859-2020-22-1-9-30.

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The article concerns the final architectural and design activity of Hector Guimar (1867–1942), when he was forced to withdraw from his unique Guimar style. During this period, the sociopolitical and cultural life of Europe underwent fundamental changes. Bourgeois modernism was replaced by more laconic democratic styles (functionalism, constructivism, etc.). Not wanting to lose the professional orders, the French architect created projects with-out the former plastics and warmth. It is noted that before the World War II, he was mainly engaged in the design of multistorey residential buildings,

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10

Østby, Erik. "A Protocorinthian aryballos with a myth scene from Tegea." Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (November 2, 2020): 123–38. http://dx.doi.org/10.30549/opathrom-13-05.

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During the preparation of the new exhibition in the Museum of Tegea it was discovered that one composed fragment from a Protocorinthian aryballos with a complicated, figured representation, found during the excavations of the Norwegian Institute at Athens in the Sanctuary of Athena Alea in the 1990s, joined with another fragment found by the French excavation at the same site in the early 20th century. After the join, the interpretation of the scene must be completely changed. The aryballos has two narrative scenes in a decorative frieze: a fight between two unidentified men over a large vesse

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11

Doronina, Tatiana V. "EUGENE LANCERAY’S EQUESTRIAN STATUES: THE ROYAL FALCONER OF THE 16TH CENTURY AND KYRGYZ WITH A GOLDEN EAGLE." Scientific and analytical journal Burganov House. The space of culture 19, no. 2 (2023): 53–69. http://dx.doi.org/10.36340/2071-6818-2023-19-2-53-69.

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The article systematises scattered data on the reduplication of two chamber sculptures, The Royal Falconer of the 16th Century (1872) and Kyrgyz with a Golden Eagle (1876), by Eugene Lanceray in larger size. The earliest information about Lanceray’s work in the workshops to reduplicate chamber compositions of equestrian hunters in larger size can be found in the memoirs of his contemporaries, N. Shatilov (1916) and A. Benois (1944-1957). Information not previously mentioned in art criticism literature is given about the display of Lanceray’s equestrian statues, cast in bronze at the F. Chopin

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12

Shkolna, Olha, and Ostap Kovalchuk. "Morčić, Moretto, Mohrenbüste, and Blackamoor as a Manifestation of Orientalism in European Jewellery Art." Bulletin of KNUKiM. Series in Arts, no. 49 (December 15, 2023): 34–47. https://doi.org/10.31866/2410-1176.49.2023.293282.

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<strong>The aim of the article</strong> is to reveal the artistic and figurative features of the concepts of Morčić in Croatian art, Moretto in Italian, in particular Venetian, Mohrenbüste in German sculpture, and Blackamoor in the art of Great Britain as a typical for modern Europe manifestation of Orientalism in the jewellery art of the regions influenced by interactions with the Moors, representatives of the Negroid race, colonialism, and the fashion for exotic servants. <strong>Results.</strong> During the period of the end of the late Middle Ages – at the junction wit

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13

Wansink, C. "Hieronymus van der Mij als historie- en genreschilder." Oud Holland - Quarterly for Dutch Art History 99, no. 3 (1985): 201–15. http://dx.doi.org/10.1163/187501785x00107.

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AbstractThe Leiden artist Hieronymus van der Mij is only known today as a portrait painter, e.g. from the twelve portraits in the Lakenhal in Leiden, one in the Rijksmuseum and the series of professors done for Leiden University. He also owed his fame in his own day primarily to his portraits, but as Jan van Gool pointed out in 1750 (Note I), he also had a penchant for painting 'antique and modern cabinet pictures'. The main reason why these have been forgotten is that over the years they have slipped almost unnoticed into the oeuvre of Willem van Mieris, not seldom with false signatures to bo

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14

Saleh, Yasser Ismail Abdel Salam. "PRINCE MITHQAL AL-SODOUNY HOUSE IN AL-AZHAR MOSQUE LINE FROM WAQF DOCUMENT." June 15, 2014. https://doi.org/10.5281/zenodo.14766.

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This research aims to reveal the imports of documents, Waqf, and endowment which play a big role to identify the owner of any building, its usage and its planning and boarders, Hence, here comes the major role that documents and endowment funds play in introducing the features and details of some buildings, to reveal the architectural and decorative units and elements whose owners were keen on documenting through special-ists in building and construction. Besides the importance of documents in getting to know the features and original components of these buildings, they assist in knowing their

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15

Perttula, Timothy K. "Analysis of Ceramic Sherds from the Mid-18th Century Gilbert Site on Lake Fork Creek, Rains County, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State, 2012. http://dx.doi.org/10.21112/.ita.2012.1.25.

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The Gilbert site (41RA13) is an important mid-18th century American Indian site on an alluvial terrace along Lake Fork Creek, adjacent to the upper part of Lake Fork Reservoir in Rains County, Texas. The site was first investigated in 1962 by the Dallas Archeological Society, and based on the findings from that work, the Texas Archeological Society (TAS) had a field school at the site in June and July 1962. There are several notable features of the Gilbert site. First, it contains 21 midden mounds about 6-9 m in diameter and ca. 1 m in height spread out over ca. 50 aces of the alluvial terrace

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16

Nguyen, Vu Tuan Anh, Jin-Ho Park, and Yangsook Jeon. "The spatial and environmental characteristics of Vietnamese vernacular houses in Vietnam's French colonial public buildings." Open House International ahead-of-print, ahead-of-print (2021). http://dx.doi.org/10.1108/ohi-04-2021-0078.

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PurposeThis paper focuses on the evolution of and changes in French colonial architectural designs over time in terms of the use of vernacular architectural features of Vietnam.Design/methodology/approachIt first examines the underlying principles of spatial compositions behind traditional vernacular architecture, thus revealing vernacular architectural values that have survived from the past. Styles of vernacular houses differ by region; thus, their unique spatial characteristics are analyzed by selecting the typical houses in each region. The study also illuminates ecological features and te

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17

Özdilek, Banu, and H. Onur Tıbıkoğlu. "New Observations on the Dionysian Scene Mosaic Panels in the House of the Triumph of Dionysus in Daphne-Antiocheia: Iconographic Description of the Periaktos System in the Decorative Architecture of the Theatre Stage Building." Journal of Mosaic Research, October 2, 2024, 119–32. http://dx.doi.org/10.26658/jmr.1564697.

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and French teams between 1932 and 1940 uncovered Roman ruins such as a theatre, church and villa. In the publications on the mosaic, the objects on either side of the actors and masks in the L-shaped panels of the Dionysian centre panel in the Dionysian Victory House have been interpreted as boxes and drawers. With this study, it has been seen that the mosaic panel of the Roman villa called “The House of the Triumph of Dionysus”, where a theatrical theme related to the god Dionysos is processed, is the first known iconographic expression of the wooden, prismatic rotating decor system periaktos

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18

Phueaknamphol, Kanlayanee, Eakachat Joneurairatana, and Veerawat Sirivesmas. "Composition of Gingerbread Fretwork: Case Studies of Chanthaboon Waterfront Community." NAJUA: History of Architecture and Thai Architecture, December 27, 2024, 349–82. https://doi.org/10.69598/najuahata.21.2.274768.

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The gingerbread pattern refers to ornate, perforated wooden carvings with curved motifs, commonly used to embellish architectural elements such as gables and balconies. This style gained considerable popularity during the reign of Queen Victoria of England (1837-1901). Architects designed countryside summer palaces in harmony with nature, incorporating gingerbread patterns into the buildings to evoke a sense of relaxation and softness. These patterns, influenced by Gothic art seen in cathedral decorations, feature distinct motifs such as tulips, spiraling vines, geometric shapes, and teardrop

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19

Anheuser, Kilian. "Where is All the Amalgam Silvering?" MRS Proceedings 462 (1996). http://dx.doi.org/10.1557/proc-462-127.

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ABSTRACTAmalgam gilding was one of the most common techniques for the gilding of metalwork before the invention of electroplating. Its silver equivalent, amalgam silvering, was executed in the same manner, by applying a paste of silver amalgam and mercury to a copper alloy object and subsequent heating to form a diffusion bond between substrate and plating and to evaporate the excess mercury, followed by burnishing of the surface. The technical know-how was readily available. However, even though many medieval and post-medieval European metal objects were silver plated, only a few coins and sm

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20

Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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21

Sytyy, Ihor. "MINE OF 1718 POINTING OUT THE STAVROPIGAL STATUS OF KIYV-PECHERSK LAVRA REGARDING THE CONSTANTINOPOL PATRIARCHATE IN THE COLLECTION OF THE CHERNIHIV HISTORICAL MUSEUM." Siverian chronicle (2021) 3 (July 7, 2021). https://doi.org/10.5281/zenodo.5091283.

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<em>The <strong>purpose</strong> of the article is to consider in detail and describe the unique monument of the Ukrainian printing house "Misyatseslov", which was printed on January 27, 1718 by the printing house of the Kiev-Pechersk Lavra. The <strong>methods</strong> on which the study is based, as it is a work of ecclesiastical writing, which consists of the actual text, which is placed in a special cover with appropriate decorations and the appearance of which touched the foundations of the Ukrainian Apostolic Apostolic Church, its relationship with the Patriarchates of Constant

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22

Agudo-Martínez, M. J. "Del Pasadismo al Futurismo." June 5, 2003. https://doi.org/10.5281/zenodo.10564981.

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Uno de los habituales prejuicios a la hora de abordar el análisis del movimiento futurista, al igual que sucede con el constructivismo, es la consideración del contexto político en el que se desarrollaron ambas vanguardias. Sin embargo, y dejando a un lado un enfoque del arte con finalidad política de signo diverso, habría que insistir en el hecho de que posiblemente sean tanto el futurismo italiano como el constructivismo ruso, los movimientos que con mayor entusiasmo se manifestaron, en un sentido amplio, a favor de la modernidad. Filippo Tommaso Marinetti,

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23

Quirk, Linda. "The Adventures of Miss Petitfour by A. Michaels." Deakin Review of Children's Literature 6, no. 3 (2017). http://dx.doi.org/10.20361/g20c8g.

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Michaels, Anne. The Adventures of Miss Petitfour, illustrated by Emma Block. Tundra Books, 2015. The winner of numerous awards, Anne Michaels has earned her place among Canada’s most talented wordsmiths. Long a respected Canadian poet, her brilliant debut novel—Fugitive Pieces (1996)—brought her international acclaim. The Adventures of Miss Petitfour is Michaels’ first book for children. Emma Block is a young freelance illustrator who has already established a reputation for delicately feminine and delightfully quirky illustrations. Her work can be seen in children’s books, Hallmark products,

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24

Coghlan, Jo, and Lisa J. Hackett. "Parliamentary Dress." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2963.

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Why do politicians wear what they wear? Social conventions and parliamentary rules largely shape how politicians dress. Clothing is about power, especially if we think about clothing as uniforms. Uniforms of judges and police are easily recognised as symbols of power. Similarly, the business suit of a politician is recognised as a form of authority. But what if you are a female politician: what do you wear to work or in public? Why do we expect politicians to wear suits and ties? While we do expect a certain level of behaviour of our political leaders, why does the professionalised suit and ti

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25

Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori

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26

Mussari, Mark. "Umberto Eco Would Have Made a Bad Fauve." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1966.

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"The eye altering, alters all." - Blake In his essay "How Culture Conditions the Colours We See," Umberto Eco claims that chromatic perception is determined by language. Regarding language as the primary modeling system, Eco argues for linguistic predominance over visual experience: ". . . the puzzle we are faced with is neither a psychological one nor an aesthetic one: it is a cultural one, and as such is filtered through a linguistic system" (159). Eco goes on to explain that he is 'very confused' about chromatic effect, and his arguments do a fine job of illustrating that confusion. To Eco'

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27

Lyubchenko, Irina. "NFTs and Digital Art." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2891.

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Introduction This article is concerned with the recent rise in popularity of crypto art, the term given to digital artworks whose ownership and provenance are confirmed with a non-fungible token (NFT), making it possible to sell these works within decentralised cryptocurrency art markets. The goal of this analysis is to trace a genealogy of crypto art to Dada, an avant-garde movement that originated in the early twentieth century. My claim is that Dadaism in crypto art appears in its exhausted form that is a result of its revival in the 1950s and 1960s by the Neo Dada that reached the current

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