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Articoli di riviste sul tema "Civilzation, Medieval, in art"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2025

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1

Wood, Charles T. "Dictionary of the Middle Ages. Joseph R. StrayerDictionary of Medieval Civilzation. Joseph Dahmus." Speculum 60, no. 4 (1985): 967–71. http://dx.doi.org/10.2307/2853748.

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2

Woodacre, Elena. "Medieval Art in Motion." Medieval Feminist Forum 56, no. 2 (2021): 218–20. http://dx.doi.org/10.17077/1536-8742.2263.

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3

Hofmann, Richie. "Looking at Medieval Art." Yale Review 108, no. 2 (2020): 168. http://dx.doi.org/10.1353/tyr.2020.0056.

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4

Foster, Paul. "Medieval Manichaean Book Art." Expository Times 121, no. 1 (2009): 26. http://dx.doi.org/10.1177/00145246091210010302.

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5

Hofmann, Richie. "Looking at Medieval Art." Yale Review 108, no. 2 (2020): 168. http://dx.doi.org/10.1111/yrev.13641.

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6

Mänd, Anu. "Art in Medieval Tartu." Baltic Journal of Art History 27 (January 2, 2025): 91–122. https://doi.org/10.12697/bjah.2024.27.04.

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Abstract (sommario):

Of the three medieval Livonian cities, Tartu is in the most challengingposition when it comes to both written and visual sources. Repeatedlyconquered and plundered during the wars of the 16th–20th centuries,Tartu lost its medieval archives and buildings. To date, research onmedieval Tartu’s art has largely concentrated on the architecture ofits cathedral and the parish church of St. John.This article aims to explore potential avenues for studying medievalart in Tartu by utilizing written sources, historical drawings, andsurviving works of art. Many of the stone carvings discussed arepublished

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7

Pestell, Richard. "Medieval art and the performance of Medieval music." Early Music XV, no. 1 (1987): 57–70. http://dx.doi.org/10.1093/earlyj/xv.1.57.

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8

Clifton, Nicole. "Medieval Romance, Medieval Contexts (review)." Arthuriana 22, no. 2 (2012): 110–11. http://dx.doi.org/10.1353/art.2012.0023.

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9

Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art

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10

PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art." American Journal of Otolaryngology 21, no. 1 (2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80067-8.

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11

PETRAKIS, N. "Earmarks of art history: Cerumen and medieval art." American Journal of Otolaryngology 21, no. 1 (2000): 5–8. http://dx.doi.org/10.1016/s0196-0709(00)80104-0.

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12

Frazer, Margaret E., Jane Hayward, Timothy Husband, and Katharine R. Brown. "Medieval Art and the Cloisters." Recent Acquisitions, no. 1985/1986 (1985): 14. http://dx.doi.org/10.2307/1513683.

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13

Husband, Timothy B. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 33. http://dx.doi.org/10.2307/3269168.

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14

Brown, Katharine R., William D. Wixom, Charles T. Little, Barbara Drake Boehm, and Timothy B. Husband. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 14. http://dx.doi.org/10.2307/3258929.

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15

Wixom, William D., Margaret E. Frazer, Timothy B. Husband, Barbara Drake Boehm, and Katharine R. Brown. "Medieval Art and the Cloisters." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 16. http://dx.doi.org/10.2307/3258949.

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16

Wixom, William D., Charles T. Little, Katharine R. Brown, and Timothy B. Husband. "Medieval Art and The Cloisters." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 14. http://dx.doi.org/10.2307/3259893.

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17

Chikarkova, Maria. "Medieval origins of street art." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 99–106. http://dx.doi.org/10.34079/2226-2830-2020-10-19-99-106.

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Abstract (sommario):

The article deals with "street art" as a kind of urban culture, outrageous self-expression of urban youth. Its study is condensed mainly on modern modifications of phenomena such as graffiti, video projection, art intervention, flash mob and more. But the historical forms of this phenomenon, whose roots go back to cave times, are much more diverse and unexpected. The ancient street art is pretty well known to us, however the medieval street art, even the closest ‒ European, scientists were much less interested. However, the Soviet-era disregard for the experience of the Middle Ages, which was

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18

Whelan, Estelle, and Eva Baer. "Metalwork in Medieval Islamic Art." Journal of the American Oriental Society 110, no. 1 (1990): 136. http://dx.doi.org/10.2307/603940.

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19

v. GladiSS, Almut, and Eva Baer. "Metalwork in Medieval Islamic Art." Die Welt des Islams 29, no. 1/4 (1989): 221. http://dx.doi.org/10.2307/1571024.

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20

HICKS, CAROLA. "ANIMALS IN EARLY MEDIEVAL ART." Art Book 1, no. 2 (1994): 27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00032.x.

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21

Kessler, Herbert L. "Reading ancient and medieval art." Word & Image 5, no. 1 (1989): 1. http://dx.doi.org/10.1080/02666286.1989.10435390.

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22

Boev, Zlatozar. "Birds in medieval bulgarian art." Natural Science and Advanced Technology Education 33, no. 5-6 (2024): 375–83. https://doi.org/10.53656/nat2024-5-6.06.

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Abstract (sommario):

An attempt has been made to present and summarize some monuments of fine art from the 7th-17th centuries in Bulgaria, which have preserved images of birds – metal sculpture, sgraffito ceramics, marble bas-reliefs, statuettes, wood carvings, graffiti in rocks, etc.

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23

Kornbluth, Genevra. "Early Medieval Art. Lawrence Nees." Speculum 79, no. 3 (2004): 805–7. http://dx.doi.org/10.1017/s0038713400090321.

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24

Jensen, Robin M. "Book Review: Medieval Liturgical Art." Expository Times 122, no. 2 (2010): 98–99. http://dx.doi.org/10.1177/00145246101220020702.

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25

Foletti, Ivan, and Adrien Palladino. "Roundtable. Medieval Art Today, Why?" Convivium 7, no. 2 (2020): 160–85. http://dx.doi.org/10.1484/j.convi.5.123124.

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26

Barral i Altet, Xavier, and Ivan Foletti. "Medieval Art History in Prison." Convivium 4, no. 1 (2017): 11–14. http://dx.doi.org/10.1484/j.convivium.4.2017002.

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27

Mocholí Martínez, María Elvira. "Medieval Christian Religion and Art." Religions 15, no. 3 (2024): 298. http://dx.doi.org/10.3390/rel15030298.

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28

Perratore, Julia. "The Art of Medieval Iberia at The Metropolitan Museum of Art and The Met Cloisters." La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 50, no. 1-2 (2021): 435–47. http://dx.doi.org/10.1353/cor.2021.a910138.

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Abstract: This essay reflects upon the rich holdings in medieval Iberian art at The Metropolitan Museum of Art, acknowledging both the organizational challenges and intellectual rewards of delving into this multifaceted collection. Focusing on the Department of Medieval Art and The Cloisters, it highlights a selection of artworks that reveal encounters between people of different faith traditions in medieval Iberia. In so doing, it argues for the importance of looking to the visual arts for layered, complex, and nuanced testimonies of interfaith interaction in the medieval peninsula.

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29

Richards, Jeffrey. "Robin Hood Medieval and Post-Medieval edited by Helen Phillips." Arthuriana 15, no. 4 (2005): 75–76. http://dx.doi.org/10.1353/art.2005.0034.

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30

Sheingorn, Pamela. "The Medieval Feminist Art History Project." Medieval Feminist Newsletter 12 (September 1991): 5–10. http://dx.doi.org/10.17077/1054-1004.1591.

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31

Muzaffarli, D. "GROTESQUE IN MEDIEVAL ART OF AZERBAIJAN." Journal of history 88, no. 1 (2018): 20–25. http://dx.doi.org/10.26577/jh-2018-1-175.

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32

Brook, Leslie C., and Douglas Kelly. "The Art of Medieval French Romance." Modern Language Review 90, no. 1 (1995): 180. http://dx.doi.org/10.2307/3733306.

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33

Voyer, Cécile. "Collectif, The Art of Medieval Hungary." Cahiers de civilisation médiévale, no. 256 (December 1, 2021): 367–69. http://dx.doi.org/10.4000/ccm.8646.

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34

Иванова, С. В. "Angelic Trumpets in Medieval Christian Art." OPERA MUSICOLOGICA, no. 2022 (September 12, 2022): 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.

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Abstract (sommario):

В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозавет

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35

Busby, Keith, and Douglas Kelly. "The Art of Medieval French Romance." Comparative Literature 47, no. 3 (1995): 263. http://dx.doi.org/10.2307/1771489.

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36

Haidu, P. "The Art of Medieval French Romance." Modern Language Quarterly 54, no. 3 (1993): 427–30. http://dx.doi.org/10.1215/00267929-54-3-427.

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37

Dunbabin, J. "Anjou: Medieval Art, Architecture and Archaeology." English Historical Review 119, no. 480 (2004): 171. http://dx.doi.org/10.1093/ehr/119.480.171.

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38

Bagnoli, Martina. "Preface: Medieval art and the object." Word & Image 22, no. 3 (2006): 193–95. http://dx.doi.org/10.1080/02666286.2006.10435746.

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39

Lord, Carla, and Carol Lewine. "INTRODUCTION: SECULAR IMAGERY IN MEDIEVAL ART." Source: Notes in the History of Art 33, no. 3/4 (2014): 1–2. http://dx.doi.org/10.1086/sou.33.3_4.23725944.

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40

Gillerman, Dorothy. "Seeing Medieval Art. Herbert L. Kessler." Speculum 81, no. 2 (2006): 546–48. http://dx.doi.org/10.1017/s0038713400003146.

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41

Gutmann, Joseph. "On Biblical Legends in Medieval Art." Artibus et Historiae 19, no. 38 (1998): 137. http://dx.doi.org/10.2307/1483588.

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42

Smith, L. "Sex and obscenity in medieval art." Journal of Family Planning and Reproductive Health Care 35, no. 1 (2009): 65–66. http://dx.doi.org/10.1783/147118909787072342.

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43

Toussaint, Manuel. "Medieval American Art, de Pal Kelemen." Anales del Instituto de Investigaciones Estéticas 3, no. 11 (2012): 127. http://dx.doi.org/10.22201/iie.18703062e.1944.11.376.

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44

Moffatt, Ann. "Early medieval art (review)." Parergon 11, no. 1 (1993): 186–87. http://dx.doi.org/10.1353/pgn.1993.0014.

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45

Marshall, Louise. "Medieval decorative art (review)." Parergon 12, no. 1 (1994): 129–31. http://dx.doi.org/10.1353/pgn.1994.0038.

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46

Brown, Rachel Fulton. "Make Art—and Academia—Medieval Again." Academic Questions 33, no. 3 (2020): 377–82. http://dx.doi.org/10.1007/s12129-020-09908-4.

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47

Yang, Shu. "Development of Art and Religion Through Compromise: Medieval Christian Art and Chinese Religious Art." Communications in Humanities Research 29, no. 1 (2024): 28–34. http://dx.doi.org/10.54254/2753-7064/29/20230521.

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Abstract (sommario):

The significance of this paper lies in the analysis of medieval religious art in China and Europe, which sheds light on how the intersection of religion and art reflects cultural and societal values. To understand the delicate balance between artistic expression and religious influence, this study delves into the development and evolution of religious art during the medieval period. The comprehensive comparative analysis is conducted using an interdisciplinary and cross-cultural approach that integrates perspectives from art history, history, religious studies, and aesthetics. The findings rev

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48

Meliksetyan, Gor. "MONUMENTAL ART IN ARMENIA/MONUMENTAL ART, FRESCO PAINTING/." JOURNAL FOR ARMENIAN STUDIES 2, no. 61 (2023): 98–107. http://dx.doi.org/10.24234/journalforarmenianstudies.v2i61.51.

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Abstract (sommario):

Armenian monumental art is the undisputed leader of the early medieval and medieval art of artistic culture, with its varieties. Armenian monumental art, as well as monumental painting - mural painting, are anchored mainly on Christian themes, which increases its artistic value even more. Modern Armenian monumental works, both monumental and mural, are inspired by the national traditions and customs of medieval art, why not also by thematics. However, often these things have relative independent significance, are the important dominant of the complex. Such works are distinguished by the depth

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49

Meek, Christine. ":The Medieval Salento: Art and Identity in Medieval Italy." Sixteenth Century Journal 46, no. 3 (2015): 807–9. http://dx.doi.org/10.1086/scj4603184.

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50

Gamaliia, Kateryna. "ELEMENTS OF ART STUDIES IN MEDIEVAL RESEARCH OF PETER BIZZILLI." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 93–101. http://dx.doi.org/10.31866/2410-1915.23.2022.260969.

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The purpose of the article is to consider the Professor’s contribution at Odesa University, P. Bizzilli, to the domestic medieval studies formation. The reconstruction of the people’s spiritual universe of the past epoch, initiated by P. Bizzilli, is one of the important components of the methodology of humanitarian research, characteristic of many representatives in modern medieval studies. After the romantics of the nineteenth century, interest in the Middle Ages gained new development in the early twentieth century, which contributed to his research at European universities. During the cent

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