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Littérature scientifique sur le sujet « Perspective baroque »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 15 février 2022

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Articles de revues sur le sujet "Perspective baroque"

Faraudo, Rosario. "Sor Juana and the Painters - A neo-baroque Perspective." Anuario de Letras Modernas 14 (July 31, 2009): 63–70. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.673.

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This text intends to explore how renewed interest in the Baroque has transcended the field of literature and Sor Juana is once more attracting the attention of artists who update the Baroque with contemporary techniques and attitudes. The text focuses mainly on a contemporary picture of Sor Juana, parodying the well-known portrait by Miguel Cabrera and how it also contains elements of the Neo-Baroque. In addition, this picture includes in the composition the first quatrain of one of the poet’s sonnets, which creates an ekphrastic dimension and multiplies the possible readings.

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Johnson, Lathrop P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." MLN 100, no. 3 (1985): 679. http://dx.doi.org/10.2307/2905544.

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Anderson, Charlotte, and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." Die Unterrichtspraxis / Teaching German 18, no. 1 (1985): 208. http://dx.doi.org/10.2307/3530025.

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Aikin, Judith P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." German Quarterly 58, no. 1 (1985): 110. http://dx.doi.org/10.2307/406052.

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Gusella, Francesco. "A Gramscian Perspective on Colonial Baroque." Eikon / Imago 10 (February 8, 2021): 331–47. http://dx.doi.org/10.5209/eiko.74156.

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The present study provides a comparative analysis of whitewashed stucco moldings and polychrome gilded altarpieces, major elements of the distinct decorative style that originated in colonial Goa during the period under investigation. The study’s comparative approach focuses on the combination of these materials and the entangled evolution of their decorative motifs. The article employs Antonio Gramsci’s theory of cultural hegemony to analyze the artistic patronage of a selected group of religious buildings that are particularly important from the perspective of their decorative program. The t

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Baumgarten, Jens, and André Tavares. "Le baroque colonisateur : principales orientations théoriques dans la production historiographique." Perspective, no. 2 (December 31, 2013): 288–307. http://dx.doi.org/10.4000/perspective.3888.

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Farago, Claire, Helen Hills, Monika Kaup, Gabriela Siracusano, Jens Baumgarten, and Stefano Jacoviello. "Conceptions and reworkings of baroque and neobaroque in recent years." Perspective, no. 1 (July 31, 2015): 43–62. http://dx.doi.org/10.4000/perspective.5792.

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Szymański, Witold, and Maurycy Kin. "The perspective transformation in illusionistic ceiling painting of late Baroque." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 15, no. 1 (2020): 104–12. http://dx.doi.org/10.35784/teka.899.

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The following work has shown the analyses carried out in order to clarify facts necessary to understand the phenomenon of the perspective representation in the works of art in Renaissanse and late Baroque. A lot of misunderstandings have arisen on the grounds of critical work made by many theoreticians and art historians. The aim of this work was to stipulate the reasons for the conceptual and methodological fallacies. Having evaluated the methods used by illusionistic ceiling painters of late Baroque, it was possible to conduct some geometric analyses of the paintings placed on the vaul

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조은정. "Anamorphosis and Linear Perspective Theories in the Baroque Period." Misulsahakbo(Reviews on the Art History) ll, no. 35 (2010): 247–80. http://dx.doi.org/10.15819/rah.2010..35.247.

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Jones, Martin. "Kapoorian Geographies of Relationality: The Baroque, Topological Twists, Phase Space in Action." Environment and Planning A: Economy and Space 46, no. 11 (2014): 2585–603. http://dx.doi.org/10.1068/a46180.

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The Baroque offers architectures of vision that situate the viewer in a distinctly spatial relationship to the representation. Rather than providing a statically ordered perspectival arrangement, the ‘center’ continually shifts, the result being the ongoing articulation of complex spatial conditions where the subject is coextensive with that of the observer. This paper develops a ‘Baroque sensibility’ by offering a geographical perspective on the work of Anish Kapoor—one of the most celebrated and definitional artists of our time, and an expander of the notion of public art—and linking this to

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Thèses sur le sujet "Perspective baroque"

Spencer, Justina. "Baroque perspectives: looking into Samuel Van Hoogstraten's perspective box." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21966.

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This thesis examines visual devices that distort, invert and toy with the conventions of linear perspective. The main object of analysis is Samuel Van Hoogstraten's Perspective Box with Views of a Dutch Interior (1655-1660), a work that is unique for its consummate application of three distinctive modes of visual representation: linear perspective, trompe l'oeil and anamorphosis. Drawing on recent literature with regard to renaissance and baroque perspectival theories and practices, this thesis argues that Van Hoogstraten's Perspective Box exposes the manner in which baroque forms of perspecti

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Horn, Andrew. "Ritual, scenography and illusion : Andrea Pozzo and the religious theatre of the seventeenth century." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23561.

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In this PhD thesis I offer an examination of the work of Jesuit Andrea Pozzo (1642-1709), an artist known primarily for his works of perspectival fresco painting. Pozzo's development, his career and his multifaceted practice––which included painting, scenography, architecture, and a two-volume treatise on perspective–– together serve as a prime case study for understanding the relationship of the religious art and architecture of the seventeenth century to the period's culture of ritual and performance. Pozzo's work, I argue, is religious theatre, and the key to reading both his ephemeral scen

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Nubel, Jonathan. "Les cordes baroques dans la création musicale d'aujourd'hui : état des lieux, enjeux, perspectives." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/NUBEL_Jonathan_2007.pdf.

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Depuis quelques années, les compositions nouvelles pour instruments baroques se sont multipliées. Rares sont aujourd'hui les grands ensembles de musique ancienne qui n'ont pas abordé au moins une fois le répertoire contemporain. Les cordes baroques, c'est-à-dire la famille des violons baroques et les violes de gambe, sont particulièrement mis à l'honneur. Un corpus de 180 oeuvres a été élaboré, à partir duquel sont dégagées des tendances générales : origine géographique, profils des compositeurs et des interprètes, dédicaces, titres. Après une définition organologique précise des instruments c

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Koryntová, Eliška. "Prostor barokní architektury v pojetí české kritiky ve 20. století." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-333532.

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(in English) This thesis is a summary of opinions coming from 20th century Czech art historians which wrote about baroque architectural space. Based on reading texts from them I have chosen three cardinal themes characterizing the research of baroque architectural space: tendencies to emancipate architectural space, emphasis on the time based experience of architectural space and interest in luminary qualities of architectural space. In the chapter about time based experience of architectural space I am dealing with the illusion of movement that creates baroque architectural space, with the pa

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Livres sur le sujet "Perspective baroque"

Sinisgalli, Rocco. A history of the perspective scene from Renaissance to the Baroque: Borromini in four dimensions. Cadmo, 2000.

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Sinisgalli, Rocco. Una storia della scena prospettica dal Rinascimento al Barocco: Borromini a quattro dimensioni. Cadmo, 1998.

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S, Kleiner Fred, and Mamiya Christin J, eds. Gardner's art through the ages: The western perspective. Thomson Wadsworth, 2006.

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Gardner, Helen. Gardner's art through the ages: The western perspective. Wadsworth/Cengage Learning, 2010.

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Helen, Gardner. Gardner's art through the ages: The western perspective. Thomson Wadsworth, 2006.

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Helen, Gardner. Gardner's art through the ages: The western perspective. Wadsworth/Cengage Learning, 2010.

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Helen, Gardner. Gardner's art through the ages: The western perspective. Wadsworth/Cengage Learning, 2010.

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Helen, Gardner. Gardner's art through the ages: The western perspective. Wadsworth/Cengage Learning, 2010.

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Helen, Gardner. Gardner's art through the ages: The western perspective. Wadsworth/Cengage Learning, 2010.

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Korsten, Frans-Willem. A Dutch Republican Baroque. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982123.

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In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised by a fascination with this world regarded as one possibility out of a plurality of potential worlds. It is this fascination that explains the coincidence in the Dutch Republic, strange at first sight, of Baroque exuberance, irregularity, paradox, and vertigo with scientific rigor, regularity, mathematical logic, and rational distance. In giving a new historical perspective on th

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Chapitres de livres sur le sujet "Perspective baroque"

Moujan, Carola. "Learning from Baroque." In Metaplasticity in Virtual Worlds. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-077-8.ch010.

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The development of ubiquitous computing has brought up the emergence of a new type of space, sensitive and neither fully material nor totally virtual, within our environments. This essay discusses, from a cultural perspective, aesthetic and philosophical issues related to what has been called “mixed reality spaces”. It aims to show how early examples of interactive art can be found in Baroque architecture and, through analysis of the perceptual means used in some of those works, proposes a strategy for bringing aesthetic depth and relevance into mixed reality installations. Depicting philosophical implications between vision and touch and their consequences for aesthetics, this essay proposes that, while designing mixed reality installations, artist operate a radical shift from the vision to touch in order to create meaningful experiences and preserve freedom for the participant.

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Rossi, Gabriele, and Valentina Castagnolo. "Ephemeral Architecture and Painted Architecture." In Conservation, Restoration, and Analysis of Architectural and Archaeological Heritage. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7555-9.ch007.

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The object of this study is a group of architectural perspectives painted on the domes and walls of noble palaces in Apulia, in particular that the baronial palace in Botrugno, the Broquier palace in Trani, and the Manes palace in Bisceglie. The perspectives belong to the “Quadratura” genre that developed in Italy and Europe in the Baroque period, but the architectural solutions represented are specific of the Apulian regional context, of Neapolitan derivation, rather than linked to the noble models of the Emilian and Roman master experiences. These architectural perspectives can be considered belonging to that “immaterial cultural heritage,” as defined by the UNESCO Convention for the Protection of the Intangible Cultural Heritage of 2003, if we consider the cultural significance of these painting representations—as previously mentioned—for their relationship with the 16th-17th century painting season of “Quadratura,” for the massive production of treatises on perspective, as well as for the Baroque experiences and for the tradition in the use of “Festa” ephemeral architectures.

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"Conclusion: “L’età fortunata del Mele”, or ‘Honey’s Happy Age’: The Barberini pontificate as a generation, a crossroads—problems of perspective." In Power and Religion in Baroque Rome. BRILL, 2006. http://dx.doi.org/10.1163/9789047417958_013.

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Webster, Erin. "Perspective as a Conceptual Tool in Milton and Newton." In The Curious Eye. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850199.003.0006.

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This chapter reads John Milton’s use of vast shifts in perspective in Paradise Lost (1667) in relation to seventeenth-century developments in the mathematics of infinity and infinitesimals. In a period in which telescopes and microscopes promised to extend the eye’s reach indefinitely, this chapter shows that Milton’s use of the epic simile and Newton’s infinitesimal calculus, first published as an attachment to his optical treatise, Opticks (1704), are related attempts to express concepts that continue to exceed the limits of visual comprehension: the infinitely large, the infinitesimally small, and the paradoxical relationship between the two. The chapter places these two writers’ work within the context of baroque art and architecture, which similarly exploits perspective as a means of expressing the concept of an infinite universe held in tension with the limits of human perception. Ultimately, it argues that by requiring his readers to vacillate between multiple perspectives on the same object, Milton contributes to a broader cultural decentring of the earth-bound human perspective as the standard measure of the universe.

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"2. Critical Perspectives." In Baroque Visual Rhetoric. University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442617698-005.

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Ivanič, Suzanna. "Prague—An Urban Cosmos." In Cosmos and Materiality in Early Modern Prague. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192898982.003.0002.

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Early modern Prague is best known through snapshot glimpses as the setting for the escapades of the English alchemist John Dee, Rudolf II’s exotic Kunstkammer, or the famous defenestration of Catholic councillors that sparked the Thirty Years’ War that ravaged Europe between 1618 and 1648. No continuous treatment of its social and cultural history across the seventeenth century exists. Moreover, Prague is often viewed through refracted categories: as a court city, a city of four administratively independent towns, a city of reform and protest prior to 1620, or a city of Baroque Catholic ascendancy after 1620. While delineating the social, cultural, and religious topography of Prague over a century, this profile presents a different perspective of a city that enabled a web of encounters between people of different social strata, faiths, and occupations, and fostered its own urban cosmos.

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WILSON, RICHARD. "A World Elsewhere: Shakespeare’s Sense of an Exit." In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0005.

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Shakespeare, it has been claimed, was the first to translate into English words the laws of vanishing-point perspective. So, according to art historians, Edgar's projection in King Lear of the view of the Channel from ‘the extreme verge’ of Dover Cliff was unprecedented in its analysis of how the planes of space diminish in proportion to distance. Decades before other writers conceptualised space as a continuum, Shakespeare had internalised the scale which determines how from a distance ‘fishermen, that walk upon the beach, / Appear like mice’, enough to define such a reductive way of seeing as ‘deficient sight’. By staging ‘the question of its own limits’ with this paradox of vision as a form of blindness, his play seems to sense something terrifying in the great unseen space which would soon surround the theatre of the baroque, and into which an exit would be the equivalent of a sentence of death.

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Suárez, Silvia B. "Perspectives on Mestizaje in the Early Baroque:." In Hispanic Baroques. Vanderbilt University Press, 2005. http://dx.doi.org/10.2307/j.ctv17vf719.12.

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van de Port, Mattijs. "Eight Movements and a Coda on the Baroque Atlantic." In Atlantic Perspectives. Berghahn Books, 2019. http://dx.doi.org/10.2307/j.ctv1dwq119.12.

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"Baroque Art in Italy, France, and England." In Perspectives on Western Art, edited by Linnea H. Wren. Routledge, 2018. http://dx.doi.org/10.4324/9780429498374-5.

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Actes de conférences sur le sujet "Perspective baroque"

Zhang, Dianhong, and Suning Xu. "Research on Humanistic Technology of Urban Design of Historical Blocks in Harbin." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/xdcr5147.

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Nowadays, with globalization sweeping across cities, more and more cities tend to develop in the same way, while the sense of existence of local identity becomes weaker. It is often the preferred choice of the city government to construct distinctive characteristics with the help of urban design. Historical blocks have their own unique cultural connotations. How to make them retain their own traditional context in the rapid urban renewal and maintain vitality with the development of the city is an urgent problem to be solved in urban design. In this paper, the research objects are two historic

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