Bibliografías temáticas / Rococo

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  1. Artículos de revistas
  2. Tesis
  3. Libros
  4. Capítulos de libros
  5. Actas de conferencias
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Literatura académica sobre el tema "Rococo"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 12 de junio de 2025

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Artículos de revistas sobre el tema "Rococo"

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Giannotta, Gaetano. "Il rococò a Valencia e la sua applicazione nell’adorno architettonico." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 108. http://dx.doi.org/10.7203/scripta.0.16360.

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Riassunto: Il Rococò si manifestò nella città di Valencia durante il trentennio centrale del Settecento e si espresse in tutte le forme dell’arte. Raggiunse l’apice della sua ricchezza nella decorazione degli interni, primi tra tutti quelli del palazzo de Dos Aguas e della vicina chiesa di San Andrés. Il suo successo cessò con l’avvento dell’Accademismo, che con l’istituzione della Reale Accademia di Belle Arti di San Carlos nel 1768, pretese il controllo delle arti sotto il segno del neoclassicismo. Si è sempre relegato il Rococò nelle ultime pagine dell’evoluzione del Barocco valenzano e manca uno studio indipendente del Rococò valenciano, delle sue fonti stilistiche, dei modelli che impiega, delle sue relazioni con gli stili precedenti, delle cause che determinano il suo trentennale successo. Questo articolo pretende iniziare a far luce su questi aspetti, confidando che approfondimenti futuri possano valorizzare le produzioni di uno dei periodi più ricchi della storia dell’arte valenciana. Parole chiave: rococò, Valencia, XVIII secolo, accademismo. Abstract: Rococo emerged in the city of Valencia in the central three decades of 18th century and it has been expressing itself in all forms of art. It reached the peak of its richness in interior decoration, first of all those of the palace de Dos Aguas and the nearby church of San Andrés. Its success ended because of arrival of Academism, with the establishment in 1768 of the Royal Academy of Fine Arts of San Carlos, which claims to control the arts under the sign of neoclassicism. The Rococo has been always relegated to the last pages of the evolution of the Valencian Baroque. Nowadays, an independent study of the Valencian Rococo and its stylistic sources, of the models it employs, of its relations with previous styles, of the reasons of its thirty-year success, is still missing. This article pretends to shed light on these aspects, trusting that further studies can enhance the products of one of the richest periods in the history of Valencian art.Keywords: rococo, Valencia, XVIII century, academicism.
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Bailey, Gauvin Alexander. "Grabados decorativos europeos y los retablos rococó del siglo XVIII en Trujillo (Perú)." Allpanchis 46, no. 83-84 (2019): 223–49. http://dx.doi.org/10.36901/allpanchis.v46i83-84.269.

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El impacto del rococó ha sido tradicionalmente subestimado en el caso de los retablos del Perú. Aunque los estudiosos reconocen que el rococó se manifiesta en algunos retablos de Lima y Trujillo de finales del siglo XVIII como decoración, se ha hecho poco por investigar cómo este estilo llegó al virreinato. Este artículo identifica unas fuentes impresas francesas y alemanas (de la ciudad de Augsburgo) y considera la manera como los artistas locales las utilizaron. También compara el tratamiento de los adornos rococó y sus formas en Trujillo con la manera en que esas formas son tratados en el Cono Sur (actual Argentina y Chile). Aunque ambas áreas se nutrieron de las mismas fuentes, los retablos del Cono Sur con frecuencia fueron obra de artistas inmigrantes (especialmente de habla alemana), mientras que los del norte fueron hechos en su mayor parte por artesanos criollos. 
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 The impact of rococo has been traditionally overlooked in the retablos of Peru. Although scholars recognized that rococo appeared on certain retablos of late-18th century Lima and Trujillo as decoration, little effort has been made to investigate how the style reached the viceroyalty. This article identifies printed sources from France and Germany (Augsburg) and considers how artists used them. It also compares the treatment of rococo motifs and forms in Trujillo with the way those forms are treated in the Cono Sur (present-day Argentina and Chile). Although the same sources were used in both areas, the retablos of the Cono Sur were frequently made by immigrants (especially from German-speaking lands) while those in the north were usually made by criollo craftsmen.
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De Fouw, Josephina. "Rococo and Religion." Rijksmuseum Bulletin 65, no. 1 (2017): 28–41. http://dx.doi.org/10.52476/trb.9776.

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Barker, E. "Rehabilitating the Rococo." Oxford Art Journal 32, no. 2 (2009): 306–13. http://dx.doi.org/10.1093/oxartj/kcp028.

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Cui, Enyu. "Chinoiserie in Eighteenth Century France: Francois Boucher’s Imagination of China." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 682–89. http://dx.doi.org/10.54097/eadyv236.

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Through the eyes of Francois Boucher, one of the most prominent court painters of the Rococo period, this essay delves into the enthralling world of Rococo art. Through the analysis of several of Boucher's paintings, such as "The Portrait of Madame de Pompadour" and "The Chinese Garden", the author intends to determine how various aspects of Chinese culture and aesthetics, as interpreted by Boucher's active imagination, were fluidly incorporated into the Rococo aesthetic. This study examines how Boucher deftly incorporated Chinese design elements, such as porcelain and scent sachets, into his works of art. These components, which are frequently considered symbolic of the Orient, provide a one-of-a-kind glimpse into Europeans' fascination with Chinese culture during the Rococo period. This article demonstrates that the influence of Orientalism on the aesthetics of European art is not limited to paintings but rather encompasses architecture as well as everyday objects, like tapestries, by demonstrating how the fusion of Chinese culture and Rococo aesthetics led to this influence.
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Malawski, Seweryn. "The style of ‘regular irregularities’ – rococo gardens and their reception in Polish garden art of the 18th century." Roczniki Humanistyczne 67, no. 4 (2019): 61. http://dx.doi.org/10.18290/rh.2019.67.4-3.

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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination of new ideas was favored by print theoretical dissertations and collections of projects. The works by authors such as L. Liger, J-F. Blondel, J-B-A. le Blond, F. de Cuvilliés, M-A. Laugier, G-L. Le Rouge, W. Chambers, S. Switzer and B. Langley enjoyed particular popularity.Many impressive gardens with Rococo features were created especially in Germany and Poland. Their special flourishing in Poland fell on the times of the Polish-Saxon Union, and especially during the reign of Augusts III in the years 1733-1763.Special attention should be paid to the projects related to the patronage of the first minister H. Brühl. Rococo features can be found in several of his gardens, such as garden at Nowy Świat in Warsaw, garden in Wola, the unfinished garden project for the former Sanguszko palace or a garden in Brody (Pförten). Rococo compositions were also created in the gardens of Prince Adam Poniński at Żyzna street in Warsaw and in Górce. In 1966, the concept of a magnificent royal garden at the Ujazdów Castle was created. Noteworthy is also the arrangement of gardens in Puławy from the times of Zofia and August Czartoryski as well as Flemming in Terespol. The designers of many Polish gardens of that period were Saxon architects, such as: J.D. von Jauch, J.F. Knöbel, C.F. Pöppelmann, E. Schröger or J.Ch. Knöffel. From the 1770s, Rococo creations in Poland began to give way to landscape concepts.
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Perez-Gomez, Alberto, and Karsten Harries. "The Bavarian Rococo Church." Eighteenth-Century Studies 18, no. 3 (1985): 421. http://dx.doi.org/10.2307/2738719.

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Harp, Richard, and William Park. "The Idea of Rococo." Rocky Mountain Review of Language and Literature 48, no. 2 (1994): 209. http://dx.doi.org/10.2307/1347920.

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Wentz, Margaret R. "Embroidered Jacket: Turkish Rococo." Mayo Clinic Proceedings 96, no. 11 (2021): 2929–30. http://dx.doi.org/10.1016/j.mayocp.2021.09.008.

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Baarsen, Reinier. "An American Rococo Interior." Rijksmuseum Bulletin 65, no. 1 (2017): 2–14. http://dx.doi.org/10.52476/trb.9773.

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Tesis sobre el tema "Rococo"

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Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.

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The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley's views of the perfect contingency of the world and on Vico's theories of truth and ingenium. A reading of Diderot's critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu's aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as a pre-cinematic effects that represent the non-material, non-causal deep structure of reality.
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Tsagaanchuluun, Bekhbat. "Variations on a Rococo theme." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1763.

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As a student aspiring to be a cellist, it is essential to conduct an in-depth research on works for cello. There are many famous composers such as J.S.Bach, J.Haydn, L.Beethoven, J.Brahms, A.Dvořák, C. Saint-Saëns, R. Schumann, S.Prokofiev, S.Rachmaninoff, D.Shostakovich and P.I. Tchaikovsky who wrote wonderful pieces for cello. In my opinion however students and musicians are putting more emphasis on improving their playing techniques and philosophy, but not on the main theme, structure, and theoretical aspect of the work. Therefore, I chose to study main theme and structure of the Variations on a Rococo Theme, Op.33, for cello by P.I. Tchaikovsky.<br><p>Examens konsert i Vilunda kyrka 2014.05.31 Music av Beethoven,Chopin</p><p>och Britten. Bekhbat Tsagaanchuluun ,cello. Asuka Nakamura ,piano.</p><p>Bilaga: 1 CD.</p>
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Ridlen, Michael Traver. "Renoir and the Rococo revival." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1257.

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In the first chapter I will discuss Renoir's involvement with the Goncourt brothers and his close interest in the themes of the Rococo. I will show how his connection with the Rococo surpasses superficial imitation and brings Renoir into direct dialogue with eighteenth-century ideas and motifs. In the second chapter I will explore the ideas about women that arose in the eighteenth century as seen in the philosophy of Jean-Jacques Rousseau and how Renoir puts them to use in his paintings of his wife, Aline. I will discuss Renoir's dialogue with Rousseau's natural roles for women, especially the practice of breastfeeding. In the last chapter, we will look at Renoir's career as an Impressionist in Paris and his interaction with the fashion of the day. During the rise of haute couture in Paris, emerging fashion was embraced most famously by Baudelaire, who despised the idealization of nature. Here we will look at Renoir's retort to Baudelaire's ideas. I seek to show that naturalism, as understood by Rousseau, is present in various ways throughout Renoir's Impressionist period, even as financial reasons constrained the artist to represent the busy city life of Paris. In summation this thesis will analyze Renoir's depictions of women, his love of eighteenth century artists, and the ideal of the natural woman he would return to throughout his career. I seek to demonstrate that Renoir was not superficially engaged with the Rococo Revival; rather, we shall see how deeply Renoir is in debt to Rousseau's ideas and Rococo aesthetics.
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Makarenko, Aliona. "Baroque and Rococo in modern fashion." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13083.

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Ibeas, Altamira Juan Manuel. "Sensaciones y sentimenientos en la cultura rococó." Paris 4, 2009. http://www.theses.fr/2009PA040025.

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Girard, Catherine. "Rococo Massacres: Hunting in Eighteenth-Century French Painting." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11521.

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My dissertation is a study of paintings with hunting subjects made in France between the 1730s and 1750s, concomitantly with the escalation of Louis XV's (r. 1715- 1774) obsession with hunting. It concentrates on up-close depictions of dying and dead animals by prominent artists such as Jean-Baptiste Oudry (1686-1755), François Boucher (1703-1770), and Jean-François De Troy (1679-1752). Particular attention is paid to how the moments that surrounded the kill of the prey by royal hunters--the hallali and the curée--were conjured up by these painters, and how their canvases were integrated into interiors, particularly those dedicated to the king's after-hunt gatherings. These painted drops of blood, hanging tongues, dislocated bodies, and tortured carcasses complicate the lack of seriousness and alleged playfulness of the discursively and ideologically determined category of the Rococo.<br>History of Art and Architecture
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Costa, Mozart Alberto Bonazzi da. "A talha no Estado de São Paulo: determinações tridentinas na estética quinhentista, suas projeções no barroco e a fusão com elementos da arte palaciana no rococó." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16102014-114447/.

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Na Antiguidade Clássica oferendas efêmeras constituídas por guirlandas e festões de flores e frutos foram depositadas em frisos nas antigas construções dando origem aos relevos e esculturas ornamentais que, executados em pedra, foram aplicados sobre os frontispícios dos templos. Esse rico repertório ornamental foi reeditado na Renascença e, na Contra-Reforma, se tornaria representativo de uma estética oficializada pelo Concílio de Trento, dirigida à constituição da igreja enquanto expressão terrena da casa de Deus. No universo laico, a estética estaria subordinada ao poder real, configurando no espaço cortesão uma arte palaciana. No mundo ibérico esses motivos ornamentais seriam transpostos para a madeira, passando a recobrir as superfícies internas dos templos religiosos, também chamados de igrejas cintilantes de ouro, repertório este que chegou ao Brasil pelas mãos de mestres entalhadores, religiosos ou leigos provenientes do Reino. Nos templos construídos em São Paulo, entre os séculos XVII e XVIII, encontram-se exemplares de talha representativa das ocorrências estilísticas que se sucederiam no mesmo período na Europa, assumindo em alguns casos, particularidades regionais. O presente estudo parte dos tratados renascentistas, buscando identificar entre os conjuntos remanescentes do período colonial paulista, alguns dos elementos que teriam contribuído para a formação do repertório ornamental tridentino e palaciano que ocorreram primeiramente nos grandes centros europeus, geradores e difusores de estética, chegando a Portugal, e sendo editados na antiga Província de São Paulo de Piratininga, envolvendo aspectos que em muito ultrapassariam a materialidade dos suportes físicos.<br>In Classical Antiquity, ephemeral offers of wreaths and embroideries made of flowers and fruits were placed in the friezes of the ancient constructions, thus originating the ornamental engravings and sculptures that, worked in stone, were applied to the frontispiece of temples. This rich ornamental repertoire was reedited in the Renaissance and, in the Counter-Reformation, would become representative of a type of aesthetics made official by the Council of Trent with the intent of constituting the church as the earthly expression of the house of God. In the universe of laity, this aesthetic principle would be under royal power, configuring a palatial art in the court space. In the Iberian world, these ornamental motifs would be transferred to woodwork and cover the inner surfaces of the religious temples, which were also called shinny churches of gold. This repertoire arrived in Brazil through the hands of carving masters, both clergy and laymen coming from the Kingdom. In the temples built in São Paulo, between the seventeenth and the eighteenth centuries, we can find examples of this type of carving that represent the stylistic manifestation which occurred in Europe in the same period, but in some cases presenting regional particularities. This study begins with the Renaissance treaties, seeking to identify among the remaining sets of the colonial period in São Paulo some of the elements that would have contributed to the formation of the palatial and Tridentine ornamental repertoires that occurred firstly in the great European centers, which generated and spread aesthetic trends. These trends would reach Portugal and later the old Province of São Paulo de Piratininga in Brazil, where they found a new expression, involving aspects that greatly surpassed the simple materiality of physical supports.
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Calado, Margarida 1947. "Arte e sociedade na época de D. João V." Phd thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1995. http://dited.bn.pt:80/29841.

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Didon, Rune. "Rokokon och dess måleri i det svenska 1800-talets ögon /." Stockholm : Stockholm Univ, 1988. http://catalogue.bnf.fr/ark:/12148/cb357031635.

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Nodermann, Maj. "Mästare och möbler /." [Östersund] : Jämtlands läns museums förlag, 1990. http://catalogue.bnf.fr/ark:/12148/cb366632373.

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Libros sobre el tema "Rococo"

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Trigiani, Adriana. Rococo. Random House Publishing Group, 2005.

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Redhill rococo. Heinemann, 1986.

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Bussagli, Marco. Baroque & Rococo. Sterling Pub., 2009.

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Museum, Victoria and Albert, ed. Rococo silks. H.N. Abrams, 1986.

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Mattia, Reiche, ed. Baroque & Rococo. Sterling Pub., 2009.

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Victoria and Albert museum. Rococo silks. Webb & Bower, 1985.

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Redhill rococo. Vintage, 1998.

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Bazin, Germain. Baroque and rococo. Thames and Hudson, 1993.

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de, Bliek Rosemarie, ed. Rozen en rococo. De Boekerij, 2007.

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Trigiani, Adriana. Rococo: A novel. Random House, 2005.

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Capítulos de libros sobre el tema "Rococo"

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Gooch, Jan W. "Rococo." In Encyclopedic Dictionary of Polymers. Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4419-6247-8_10092.

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Adburgham, Alison. "Neo-Rococo." In View of Fashion. Routledge, 2023. http://dx.doi.org/10.4324/9781003361398-13.

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Johnstone, Pauline. "Baroque and Rococo." In High Fashion in the Church. Routledge, 2023. http://dx.doi.org/10.4324/9781003421481-31.

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Van Abbé, Derek. "Leipzig and Rococo." In Goethe. Routledge, 2024. http://dx.doi.org/10.4324/9781003503392-2.

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Roth, Leland M., and Amanda C. Roth Clark. "Baroque and Rococo Architecture." In Understanding Architecture, 4th ed. Routledge, 2024. http://dx.doi.org/10.4324/9781003143956-22.

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Lowery, Allison. "The Georgian/Rococo Period (1711–1789)." In Historical Wig Styling. Routledge, 2019. http://dx.doi.org/10.4324/9780429422713-10.

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Steen, Charlie R. "Culture of the Rococo and the Enlightenment, 1700–1749." In A Cultural History of Early Modern Europe. Routledge, 2019. http://dx.doi.org/10.4324/9780367823788-7.

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Reinhardt, Andreas, and Christian Renner. "RoCoCo: Receiver-Initiated Opportunistic Data Collection and Command Multicasting for WSNs." In Lecture Notes in Computer Science. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-15582-1_14.

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"Rococo." In Encyclopedic Dictionary of Polymers. Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30160-0_9901.

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"Rococo." In The Visual Dictionary of Architecture. AVA Publishing SA Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781350096462.0204.

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Actas de conferencias sobre el tema "Rococo"

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Smith, Stefan. "Rococo #506." In ACM SIGGRAPH 98 Conference abstracts and applications. ACM Press, 1998. http://dx.doi.org/10.1145/280953.289339.

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Michaelson, Dawn M. "Tulipa ‘Rococo’ I." In Innovate to Elevate. Iowa State University Digital Press, 2022. http://dx.doi.org/10.31274/itaa.15824.

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Démoris, René. "Oudry et les cruautés du Rococo." In Littérature et arts à l'âge classique 1 : Littérature et peinture au XVIIIe s., autour des Salons de Diderot, par R. Démoris. Fabula, 2007. http://dx.doi.org/10.58282/colloques.614.

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Kim, Kyeong Seon, Dohyun Kim, and Joongheon Kim. "Hardness on Style Transfer Deep Learning for Rococo Painting Masterpieces." In 2019 International Conference on Artificial Intelligence in Information and Communication (ICAIIC). IEEE, 2019. http://dx.doi.org/10.1109/icaiic.2019.8668965.

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Ugurdag, Fatih, Okan Keskin, Cihan Tunc, Fatih Temizkan, Gurbey Fici, and Soner Dedeoglu. "RoCoCo: Row and Column Compression for high-performance multiplication on FPGAs." In Test Symposium (EWDTS). IEEE, 2011. http://dx.doi.org/10.1109/ewdts.2011.6116419.

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Ao, Yahan, Heying Liu, Yujiao Xi, and Runqing You. "From the Rococo to Lolita: The Division of Feminism in China." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.108.

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Мишуровская, О. Е., and Е. А. Боровская. "CHINOISERIE IN ROCOCO INTERIOR: HARMONY AND CONTRAST IN THE CONTEXT OF EUROPEAN TYPOLOGY." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.43.

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Увлечение восточными декоративно- прикладными предметами способствовало зарождению в европейской культуре нового художественного направления под названием шинуазри. В резул ьтате синтеза китайской декоративной иконографии с европейскими сюжетами и мотивами в убранстве интерьеров появились самые разнообразные интерпретации шинуазри. Учитывая их широкую вариативность, автор рассматривает наиболее распространенные художественные жанры шинуазри в архитектурно- декоративном оформлении интерьеров со ссылкой на русские и французские образцы. The fascination with oriental decorative and applied objects contributed to the emergence of a new artistic trend in European culture called chinoiserie. As a result of the synthesis of Chinese decorative iconography with European themes and motifs, the most diverse interpretations of Chinoiserie appeared in the interior decoration. Taking into account their wide variability, the author examines the most common artistic genres of chinoiserie in the architectural and decorative design of interiors with reference to Russian and French examples.
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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Yu, Xiaofei, and Yixiong Zhang. "Analysis of Thermal Stratification and Fatigue Stress for Pressurizer Surge Line." In 18th International Conference on Nuclear Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/icone18-29366.

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Thermal stratification of pressurizer surge line induced by the inside fluid brings on global bending moments, local thermal stresses, unexpected displacements and support loadings of the pipe system. In order to confirm the structural integrity of pressurizer surge line affected by thermal stratification, this paper theoretically establishes thermal stratified transient and studies the calculation method of thermal stratified stress. A costly three-dimensional computation is simplified into a combined 1D/2D technique. This technique uses a pipe cross-section for computation of local thermal stresses and represents the whole surge line with one-dimensional pipe elements. The 2D pipe cross-section model is used to compute elastic thermal stresses in plane strain condition. Symmetry allows half the cross-section to be considered. The one-dimensional pipe elements model gives the global bending moments including effects of usual thermal expansion and thermal stratification of each model nodes. This combined 1D/2D technique has been developed and implemented to analyze the thermal stratification and fatigue stress of pressurize surge line in this paper, using computer codes SYSTUS and ROCOCO. According to the mechanical analysis results of stratification, the maximum stress and cumulative usage factor are obtained. The stress and fatigue intensity of the surge line tallies with the correlative criterion.
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Perez Molina, Maria Jose, Dunixe Marene Larruskain Escobal, Pablo Eguia Lopez, and Victor Valverde Santiago. "Fault detection based on ROCOV and ROCOC for multi-terminal HVDC systems." In 2020 IEEE 20th Mediterranean Electrotechnical Conference ( MELECON). IEEE, 2020. http://dx.doi.org/10.1109/melecon48756.2020.9140642.

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Informes sobre el tema "Rococo"

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Gilbert, Bennett. Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.1872.

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Rojo Moreno, Irene, José Daniel Anadón, and José Antonio arcía Charton. Datos del manuscrito "Exceptionally high but still growing predatory reef biomass after 23 years of protection in a Mediterranean Marine Protected Area". PLOS, 2020. http://dx.doi.org/10.6018/10201/92641.

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Datos de abundancia y biomasa de peces en arrecifes rocosos de la reserva marina de Cabo de Palos - Islas Hormigas, obtenidos mediante. censos de peces en inmersión con escafandra autónoma, durante el periodo 1996-2018
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Curo Rosales, Yadira A., Gladis T. Celmi Henostroza, Mayra D. Mejía Camones, and Juan de Dios Fernández Vega. Inventario Nacional de Glaciares y Lagunas de Origen Glaciar 2023. Instituto Nacional de Investigación en Glaciares y Ecosistemas de Montaña (INAIGEM), 2023. http://dx.doi.org/10.36580/inaigem.document17.

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El Inventario Nacional de Glaciares y Lagunas de Origen Glaciar 2023 (INGLOG 2023) destaca la importancia de los glaciares andinos peruanos como proveedores de agua para el 62% de la población. Con el 68% de los glaciares tropicales del mundo, el Perú ha perdido un preocupante 56% de su superficie glaciar en seis décadas. El INAIGEM actualiza el INGLOG cada cinco años, utilizando tecnologías avanzadas. Los resultados muestran 2084 glaciares y 8466 lagunas a nivel nacional, con una pérdida total de 1348.75 km2 en 58 años. Se identificaron 2147 glaciares rocosos, previamente desconocidos. A nivel departamental, Áncash y Cusco lideran en glaciares, Arequipa en glaciares rocosos, y Puno y Junín en lagunas. El informe evalúa riesgos como la pendiente, indicando que el 59% de los glaciares tienen pendientes superiores a 25°. Estos resultados son cruciales para la gestión del agua, la identificación de zonas estratégicas para estudios sobre peligros de origen glaciar, y la prevención de riesgos asociados al cambio climático.
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Garzón Díaz, Karim del Rocío, Patricia Moncayo, Angy Carolina Villamil Duarte, Ángela Victoria Vera Márquez, and Stefany Hernández. Rapsodias: un viaje de resiliencia y transformación pos-COVID. Universidad del Rosario, 2024. http://dx.doi.org/10.12804/dvcn_10336.42596_num7.

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La pandemia ocasionada por la Covid-19 ha dejado secuelas tanto físicas como de salud mental en la sociedad. Por eso, la terapeuta ocupacional Karim del Rocío Garzón, junto con la cantante y compositora Patricia Moncayo, crearon el proyecto “Rapsodias de recuperación en clave posCOVID” con el fin de mejorar la salud integral de los pacientes que se recuperaron después de pasar por la UCI.
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