Bibliographies thématiques / Painting, renaissance – spain – exhibitions

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Littérature scientifique sur le sujet « Painting, renaissance – spain – exhibitions »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Painting, renaissance – spain – exhibitions"

Eggers, Erik. "Schicksalstage in Madrid: Zur olympischen Renaissance des Handballs." STADION 48, no. 1 (2024): 76–98. http://dx.doi.org/10.5771/0172-4029-2024-1-76.

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After its premiere at the 1936 Olympic Games in Berlin, Handball was no longer part of the Olympic Program after the Second World War. This was due to the handball’s image as a “Nazisport” and its lack of popularity outside of Europe. The members of the International Olympic Committee (IOC) were convinced to bring it back by the establishment of the United States Team Handball Association (USTHF) – and even more so by two exhibitions at the 63rd IOC Session in Madrid 1965, in which the two teams involved, host Spain and the Federal Republic Germany, at the request of International Handball Fed

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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (2018): 81–104. http://dx.doi.org/10.15291/ars.2756.

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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the

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Candelaria, Lorenzo. "Hercules and Albrecht Dürer’s Das Meerwunder in a Chantbook from Renaissance Spain *." Renaissance Quarterly 58, no. 01 (2005): 1–44. http://dx.doi.org/10.1353/ren.2008.0579.

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Abstract This article centers on two images from the life of Hercules and a border painting modeled after Albrecht Dürer’s engraving Das Meerwunder (ca. 1498) in a Kyriale produced ca. 1500 for a Dominican convent in Toledo, Spain. It discusses the cultural significance of Hercules in Spain, and Toledo in particular, then presents a contextually sensitive reading of the image derived from Dürer’s enigmatic engraving, whose subject has yet to be identified. The image in the Kyriale appears to represent Hercules’ once-famous rescue of the Trojan princess Hesione from a sea monster.

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Kestner, Joseph A. "Victorian Art History." Victorian Literature and Culture 26, no. 1 (1998): 207–19. http://dx.doi.org/10.1017/s1060150300002357.

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There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Inclu

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García González, María Cristina, and Salvador Guerrero. "The National Federation of Town Planning and Housing, 1939–1954." Journal of Urban History 40, no. 6 (2014): 1099–122. http://dx.doi.org/10.1177/0096144214536869.

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The autarchy system established by the new dictatorship following the Spanish Civil War proposed the reconstruction of the country as a new Renaissance based on idiosyncratic Spanish values. One of the most unique experiences was the creation of the private society The National Federation of Town Planning and Housing (1939–1954). The aim was to create a social environment appropriate for dignity development in the habitability conditions. The project was very ambitious about town planning dissemination. A professional network concerning town planning and housing knowledge was required. Instrum

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Giménez-Berger, Alejandra. "Ethics and Economies of Art in Renaissance Spain: Felipe de Guevara’s Comentario de la pintura y pintores antiguos*." Renaissance Quarterly 67, no. 1 (2014): 79–112. http://dx.doi.org/10.1086/676153.

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AbstractThe Comentario de la pintura y pintores antiguos (Commentary on Painting and Antique Painters) by the humanist Felipe de Guevara stands as the first art treatise of its type produced in Renaissance Spain. Critical studies underscore the reliance on ancient texts in spite of significant divergences from the sources. Philological studies of near-contemporary texts and a close reading of the author’s extant writings provide an alternative framework for understanding these transformations. Through the appropriation of ancient texts, Guevara calls for the practical overhauling of the Spanis

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Teece, Denise-Marie. "Through the Renaissance Frame: Carpets and the Beginnings of “Islamic Art” in Nineteenth-Century Vienna and Berlin." Textile Museum Journal 44, no. 1 (2017): 46–69. http://dx.doi.org/10.1353/tmj.2017.a932719.

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Abstract: Abstract / A critical review of the historiographies of “Islamic art” history reveals that our understanding of each artistic medium—such as ceramics, painting, and textiles—has followed a distinct epistemological trajectory, determined to a great extent by the attitudes and interests of early scholars. This article examines one of these early histories, mapping specific aspects of the development of carpet studies in nineteenth-century Vienna and Berlin. There was a gradual transformation in the understanding of these works of art that occurred from the mid-nineteenth to the early t

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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.

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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in t

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Kashchenko, A. V., and P. A. Kiselyov. "FROM LOUIS TO THE "CARNIVAL OF THE DEAD MONGTS": WESTERN ARTIN SEARCH OF MEANING, OR HOW PAINTERS THROWN BETWEEN THE CROSS AND BONES." Experience industries Socio-Cultural Research Technologies, no. 4 (2024): 53–87. https://doi.org/10.34680/eiscrt-2024-4(9)-53-87.

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In today's Russian mass consciousness, there is an attitude that contemporary art, primarily Western, embarked on the path of departure from canonical images and structures in relatively recent times –about a hundred years ago. Tracing the path of WesternEuropean painting since the Renaissance –and even earlier –since the theological discussion of the nature of the Tabor light in the mid-14th century, one can conclude about the continuity of the ideological line, the ontological essence between modern postmodern artists (such as the Belgian of Flemish origin Jan Fabre) and their predecessors o

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Jiménez-Desmond, Daniel, Anna Arizzi, and Carolina Cardell. "A Case Study of Renaissance Wall Paintings in Granada (Spain): Historical–Artistic Analysis, Materials Characterization, and State of Conservation." Minerals 13, no. 7 (2023): 854. http://dx.doi.org/10.3390/min13070854.

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The research carried out on the wall paintings of Hernán Pérez del Pulgar’s Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal atta

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Thèses sur le sujet "Painting, renaissance – spain – exhibitions"

Kugler, Katrena. "Bridging Heaven and Spain: The Virgin of Mercy from the Late Medieval Period to the Age of Exploration." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13246.

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The Virgin of Mercy is a Marian devotional image type recognizable by its portrayal of Mary protecting the faithful with her cloak. This thesis situates the iconography of painted panels within their historical and cultural context in Spain from the late medieval period to the Age of Exploration. I explain the image's origins and introduce its various versions, focusing on three major frequently commissioned subtypes: the Sponsorship of the Virgin, plague commissions, and the Mercedarian's Virgin of Mercy. I present a case study of one famous version of the type, the Virgin of the Navigators,

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Livres sur le sujet "Painting, renaissance – spain – exhibitions"

José, Alvarez Lopera, Sammlung Thyssen-Bornemisza, Palazzo delle esposizioni (Rome, Italy), and Ethnikē Pinakothēkē, Mouseion Alexandrou Soutsou., eds. El Greco: Identity and transformation : Crete, Italy, Spain. Museo Thyssen-Bornemisza, 1999.

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Heinlen, Michael. Medieval & Renaissance miniature painting. Bruce Ferrini Rare Books, 1989.

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Mantegna, Andrea. Un Mantegna da scoprire: La Madonna della tenerezza. Skira, 2006.

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L, Stratton Suzanne, Spanish Institute (New York, N.Y.), and Equitable Gallery (New York, N.Y.), eds. Spain, Espagne, Spanien: Foreign artists discover Spain, 1800-1900. The Equitable Gallery in association with the Spanish Institute, 1993.

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Helston, Michael. Painting in Spain during the later eighteenth century. National Gallery, 1989.

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author, Vittori Claudia 1965, Clemente Maichol author, Gallerie dell'Accademia di Venezia, and Frick Collection, eds. Veronese in Murano: Two Venetian Renaissance masterpieces restored. The Frick Collection, 2017.

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Schnütgen, Museum, ed. Rheinische Glasmalerei: Meisterwerke der Renaissance. Schnell + Steiner, 2007.

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J, Martens Maximiliaan P., Ainsworth Maryan Wynn, and Memlingmuseum (Bruges Belgium), eds. Bruges et la Renaissance: De Memling á Pourbus : notices. Ludion-Flammarion, 1998.

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John, Graham. John Graham: [renaissance & revolution] : May 31-July 31, 2002. Richard York Gallery, 2002.

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Blumenthal, Arthur R. Italian Renaissance & Baroque paintings in Florida museums. George D. and Harriet W. Cornell Fine Arts Museum, Rollins College, 1991.

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Plus de sources

Actes de conférences sur le sujet "Painting, renaissance – spain – exhibitions"

Boda, Gherghina. "Romanian national heritage at the universal exhibition in Barcelona (1929)." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.05.

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Since the 18th century, universal exhibitions have undergone a wide development, each aiming to bring to the public’s attention not only the most special and innovative exhibits but, at the organizational level, the most varied and unique attractions, usually the latest technical innovations or using what is already known in a whole new way. Romania was one of the participating countries, the inauguration of the Romanian Pavilion in Barcelona, on an area of 400 square meters, taking place on October 4, 1929, in the presence of King Alfonso XIII of Spain. Th e layout of the Pavilion provided fo

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