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Artykuły w czasopismach na temat "Painting, German – 18th century"
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Краснова, И. В. "An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions". Nasledie Vekov, nr 1(25) (22.04.2021): 109–17. http://dx.doi.org/10.36343/sb.2021.25.1.009.
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В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.
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Kunz, Hans-Joachim. "Bibliographische Arbeit der SÄchsischen Landesbibliothek Dresden auf dem Gebiet der bildenden kunst". Art Libraries Journal 11, nr 1 (1986): 28–29. http://dx.doi.org/10.1017/s030747220000448x.
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The Bibliographie Bildende Kunst has come out annually since 1973. It records literature of various kinds about painting, graphic art, plastic art, architecture, applied art, book art, design, folk art, artistic photography as well as theory and history of art. The compilation comprises monographs, periodical essays and important contributions from the daily press. Every yearly volume contains an index of authors and an index of subjects. Every five years a cumulated index is published. Since 1973 the Bibliographie Illustrierte Bucher der Deutschen Demokratischen Republik has come out. It lists GDR publications containing artistic illustrations. Every yearly volume is made accessible by means of an index of authors and subject titles. Index cumulations are published every five years. In 1984 a list concerning the location of periodicals and serials about Fine Arts in libraries of the German Democratic Republic was published. It contains titles from the 18th mid-century onward up to the present, including information on the particular ownership of GDR libraries. These publications are obtainable from Sächsische Landesbibliothek Dresden, GDR-8060 Dresden, PSF 467/468.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia". Porta Aurea, nr 19 (22.12.2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Greiner, Bernhard. "»Dieses ist vor dem Bilde unmöglich.«". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, nr 1 (2011): 65–88. http://dx.doi.org/10.28937/1000106184.
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Im Laufe des 18. Jahrhunderts ändert sich in Deutschland die Zugänglichkeit von Kunst grundlegend: Fürstliche Sammlungen werden dem allgemeinen Publikum geöffnet, nur der Kunst gewidmete Museen werden eingerichtet. Diese Entwicklung zeigt eine bemerkenswerte Parallele zur gleichzeitigen Ausbildung einer philosophischen Ästhetik und deren Konzeption einer Kunstautonomie, der Kant dann eine umfassende theoretische Begründung gibt, derart, dass die Momente des Schönen, die Kant in der Kritik der Urteilskraft herausarbeitet, als konstitutive Merkmale der Kunstmuseen wiedergefunden werden können. Die romantische Bewegung bekräftigt diese Entwicklung in ambivalenter Weise. Die allgemeine Zugänglichkeit von Kunst kommt ihrem Auf heben von Grenzen entgegen, nötigt aber auch, neu zwischen dem Sein des Kunstwerks und dem des Betrachters zu unterscheiden, was gegenläufig zum Anlass einer ›Romantisierung‹ des Kunstwerks wie des Betrachters wird. Das wird an August Wilhelm Schlegels Kunstgespräch Die Gemählde herausgearbeitet, weiter an Friedrich Schlegels Nachricht von den Gemählden in Paris und dem Echo Kleists hierauf in seiner Cäcilienerzählung sowie am Essay über Caspar David Friedrichs Bild Mönch am Meer, der von Clemens Brentano und Achim von Arnim verfasst und von Kleist grundlegend umgearbeitet worden ist.<br><br>The accessibility of art in Germany underwent a fundamental change over the course of the 18th century. Aristocratic collectors opened their doors to the general public, and new museums were dedicated exclusively to art. This development parallels the concurrent development of aesthetics in philosophy and the conception of the autonomy of art. Its theoretical foundation was provided by Kant in his third critique with such completeness that the standards of beauty he worked out emerge as constitutive elements of the art museum. The Romantic movement reinforced the trend in what proved to be an ambivalent way. The general accessibility of art was well suited to its transgression of boundaries, but it necessitated a new, less contingent mode of demarcation between the work of art and the observer. That became an occasion for »Romanticization« of both the artwork and its audience, demonstrated here by August Wilhelm Schlegel’s conversation on art Die Gemählde. It is further elucidated by Friedrich Schlegel’s Nachricht von den Gemählden in Paris and its echo in two texts published by Kleist: The novella Die Heilige Cäcilie oder die Gewalt der Musik and the essay on Caspar David Friedrich’s painting Mönch am Meer that was drafted by Clemens Brentano and Achim von Arnim and radically modified by Kleist.
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Brandt, N. N., N. L. Rebrikova i A. Yu Chikishev. "Raman spectroscopy of the components of 18th-century icon painting". Moscow University Physics Bulletin 64, nr 6 (grudzień 2009): 600–604. http://dx.doi.org/10.3103/s0027134909060083.
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Хребтенко, М. С. "ЗОБРАЖЕННЯ ОДЯГУ І АТРИБУТІВ СВЯТИХ В ІКОНОПИСІ ЛІВОБЕРЕЖНОЇ УКРАЇНИ ТА КИЇВЩИНИ ДРУГОЇ ПОЛОВИНИ XVII – ПЕРШОЇ ПОЛОВИНИ XVIII ст." Art and Design, nr 2 (21.09.2020): 129–46. http://dx.doi.org/10.30857/2617-0272.2020.2.11.
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To identify and analyze ways of depiction of clothing in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th - the first half of the 18th centuries. The author conducted a field exploration of painted icon monuments from the mentioned period in the collections of Ukrainian museums. The data obtained was supplemented with information from published scientific papers and archival sources. The analysis performed made it possible to trace the peculiarities of the depiction of different fabrics in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th – first half of the 18th centuries, and to identify the aspects of the effects on it of Byzantine and Western European painting techniques. It is revealed that in the Ukrainian icon painting till the end of the 17th century was used a method for depicting fabrics, whose roots go back to the Byzantine system of tempera painting. Although white levkas remained dominant in Ukrainian iconography, by the beginning of the 18th century masters could tone grounds and make imprimaturas, which had their influence on the process of painting clothing and the icon in general. Since about the second quarter of the 18th century the use of grisaille underpaints has been encountered in some icons. These innovations demonstrate the impact of Western European painting at the technical and technological level. Gold and silver were widely used for decorating icons. In that time to decorate the icons were widely used leaf gold and silver and powdered gold and silver. For the first time, the subject of research is the process of painting the garment part of the icons of Left-Bank Ukraine and the Kiev region in the second half of the XVII - the first half of the XVIII centuries. The methods of depicting clothing and common techniques for decorating and depicting texture of fabrics are described and analyzed in detail. The study expands knowledge about Ukrainian icon painting and reveals the technique of its creation.
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Imbert, Isabelle. "Patronage and Productions of Paintings and Albums in 18th-Century Awadh". Journal of Islamic Manuscripts 12, nr 2 (30.04.2021): 174–201. http://dx.doi.org/10.1163/1878464x-01102002.
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Abstract During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ, to the point where calligraphic panels were completely replaced by colourful plants. Floral designs also appear in the margins, and the repetition of motives and patterns on several pages of different dimensions revealed an extensive commercialization based on a standardized production. In addition, the collections of European collectors such as Antoine-Louis Polier and Jean-Baptiste-Joseph Gentil bear the traces of commercial transactions between European and Indian collectors, as well as prices and possession marks. Together with their writings, correspondences, and memoirs, they bring new information on previously unknown Indian collectors, and more generally on the dynamism of the 18th-century book market.
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Abramkin, Ivan A. "TYPOLOGICAL CHARACTERISTICS OF CEREMONIAL AND CHAMBER IMAGE IN THE RUSSIAN PORTRAIT PAINTING OF 18TH CENTURY". RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, nr 4 (2020): 112–27. http://dx.doi.org/10.28995/2073-6401-2020-4-112-127.
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The article is devoted to the thorough research of distinctive features of ceremonial and chamber types of portrait in Russian art of 18th century. The matter drew attention of scientists earlier but the identification of specific characteristics, inherent to each type of portrait painting, is not available in academic literature on the subject at the moment. The need for defining a set of features appears relevant for studies into the portrait painting at the turn of 18th – 19th centuries, which is characterized by combination of particularities peculiar to different variants of image in one artwork. It is the identification of distinctive typological characteristics of ceremonial and chamber portrait that allows to explore certain artworks of the mentioned period more effectivly in comparison with stylistic analysis the use of which is objectively difficult with coexistence of various artistic directions.
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LEE, Hye Seung. "TRADITION OF KOREAN LANDSCAPE. ITS HISTORIC PERSPECTIVE AND INDIGENIZATION". International Journal of Korean Humanities and Social Sciences 2 (29.11.2016): 49–70. http://dx.doi.org/10.14746/kr.2016.02.04.
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This paper aims to provide general presentation of Korean landscape painting with historic consideration. Some Korean elements of landscape were introduced in the early 5th century, and since the 7th century, mountains have become an important theme in the formation of the image space. From the 10th to the 17th centuries, the Korean landscape developed under Chinese rule. However, in the early 18th century a new painting trend – “Koreanization of the Korean landscape” – appeared and there also had emerged the folk landscape style. Furthermore, in the contemporary Korean landscape there are various attempts towards the search for one’s own artistic vision.
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Duparc, F. J. "Philips Wouwerman, 1619 - 1668". Oud Holland - Quarterly for Dutch Art History 107, nr 3 (1993): 257–86. http://dx.doi.org/10.1163/187501793x00018.
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AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.
Rozprawy doktorskie na temat "Painting, German – 18th century"
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Velescu, Elena. "La représentation des catastrophes naturelles en littérature et peinture dans l’espace culturel franco-allemand entre la deuxième moitié du XVIIIe siècle et le début du XIXe siècle". Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4048.
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Ce travail vise à rendre compte des relations créées entre les événements naturels de forte intensité et dont les conséquences destructrices les ont fait nommer catastrophes naturelles, en partant du fameux tremblement de terre de Lisbonne, en 1755 jusqu’au milieu du XIXe siècle, avec l’avènement des nouvelles techniques et sciences, ce qui a engendré un nouveau rapport entre l’homme et la Nature. Ce changement de la représentation de la catastrophe en littérature, mais aussi dans la peinture s’appuie sur des mutations culturelles dans le plan religieux, scientifique et esthétique, dont les traces évidentes nous avons essayé d’expliciter dans ce travail. L’enjeu de cette thèse est d’analyser les métamorphoses du discours écrit et visuel de la période mentionnée, et d’attirer l’attention sur le passage entre l’horreur suscitée par un événement catastrophique et la dimension sensorielle et la fascination provoquée par le spectacle des phénomènes naturels. Toutefois, nous avons recherché le symbolisme des motifs attachés aux grands mythes de l’humanité, tels le Déluge, le thème de transgression-punition-rédemption inscrit dans la catastrophe, qui se transforme dans un nouveau concept, un objet d’analyse, de réflexion et de contemplation, qui nous incite à voir différemmentThis research aims to report on the relationships created among natural events of high intensity which can be categorized as natural disasters due to their destructive consequences starting with the famous earthquake of Lisbon in 1755 until the mid-nineteenth century, the advent of new technology and science, which created a new relationship between man and nature. This change in catastrophe representation in literature but also in the painting is based on religious, scientific and aestethetic changes, the key elements that we explored in this work. The aim of this dissertation is to analyze the metamorphoses of writing and visual discourse of the above-mentioned period and draw attention to the transition from horror triggered by a catastrophic event to a sensory dimension and fascination caused by the spectacle of natural phenomena. We also examined the symbolism of the motifs attached to the great myths of humanity, such as the Flood, the theme of transgression-punishment-redemption part of the disaster, which generates into a new concept, an object of analysis, reflection and contemplation, which inspires us to see the catastrophic events differently
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century.
In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou.
These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry
and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Carvalho, Anaïs. "La réception allemande de la théorie de l’art de Roger de Piles au XVIIIe siècle". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30027.
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L’étude vise à dresser l’histoire de la réception de la théorie de l’art de Roger de Piles (1635-1709) dans l’espace germanophone au XVIIIe siècle. Accédant rapidement au statut de canons de la littérature artistique, les écrits de De Piles sont accueillis différemment selon les foyers politiques et culturels, selon les systèmes de diffusion et selon les acteurs de leur réception. La traduction de théories de l’art venant de l’étranger s’avère être, tout au long du XVIIIe siècle, un facteur fondamental dans la construction des théories allemandes de l’art de peindre. Entre 1699 et 1776, quatre ouvrages de, ou attribués à, l’auteur français sont publiés en langue allemande d’abord à Berlin, Hambourg puis Leipzig, par le peintre Samuel Theodor Gericke (1665-1729) et les amateurs Paul Jacob Marperger (1656-1730) et Georg Heinrich Martini (1722-1794). Certains sont réédités plusieurs fois ou retraduits hors des frontières du Saint Empire romain germanique, par Johann Dauw (1679-1723) et Tobias Querfurt (actif de 1732 à 1792). La réception allemande de la théorie du coloris de De Piles s’opère majoritairement en associations avec d’autres auteurs (Sandrart, Félibien, Lairesse, Testelin). Le processus d’assimilation du vocabulaire fixé par De Piles illustre l’évolution générale de la réception allemande de sa théorie. L’imprégnation des concepts depilesiens oscille entre fidélité, détournement et acculturation, dans une époque marquée par une recherche de corrélation entre théorie, pratique et goût de la peinture. Finalement, la position coloriste teintée d’éclectisme esquissée par De Piles s’épanouit dans le syncrétisme théorique et pratique de sa réception allemandeThe study aims to draw the history of the reception of Roger de Piles’ (1635-1709) theory, in the German area during the 18th century. Rapidly considered as a benchmark of artistic literature, De Piles’ writings are received differently according to political and cultural contexts, to dissemination system and to players of their reception. The translation of art theories coming from abroad happens to be, throughout the whole 18th century, a crucial factor in the construction of German theories of painting. Between 1699 and 1776, four books of, or attributed to, the French author are published in German, first in Berlin and Hamburg, then in Leipzig, by the painter Samuel Theodor Gericke (1665-1729) and by the connoisseurs Paul Jacob Marperger (1656-1730) and Georg Heinrich Martini (1722-1794). Some are republished several times or retranslated outside the borders of the Holy Roman Empire of the German Nation by Johann Dauw (1679-1723) and Tobias Querfurt (working from 1732 to 1792). The German reception of Roger de Piles’ theory of colouring occurs mainly in association with others authors (Sandrart, Félibien, Lairesse, Testelin). The assimilation process of the vocabulary established by De Piles illustrates the general evolution of the German reception of his theory. The impregnation of de Piles’ concepts fluctuates between fidelity, embezzlement and acculturation, in a period marked by a search of correlation between theory, practice and taste for painting. Eventually, the colourist position tinged with eclecticism sketched by de Piles prospers in the theoretical and practical syncretism of his German reception
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Yarker, Jonathan Alexander. "Copies and copying in eighteenth-century Britain". Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708785.
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Dorkin, Molly Karen. "'Let nature never be forgot' : plein-air landscape sketching by British artists in Italy, c. 1750-1800". Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708169.
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Lee, Sai-chong Jack, i 李世莊. "China trade painting: 1750s to 1880s". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.
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Martin, Nicholas. "Untimely aesthetics : a critical comparison of Schiller's Ästhetische Briefe and Nietzsche's Die Geburt der Tragödie". Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:28d4a61e-c4a5-45f6-a6c7-8f17052c47a6.
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The thesis is two-fold. First, that Nietzsche's early writings owe more to Schiller than he subsequently wished to admit. This is demonstrated by evidence from Die Geburt der Tragödie and the Nachlass notes of the same period. Second, that there are tangible parallels of content and intent between Schiller's Ästhetische Briefe and Nietzsche's Die Geburt der Tragödie. The thesis is not an 'influence study', although the issue is addressed. By examining his hitherto neglected attitude to Schiller, this study sheds light on Nietzsche's tactics when dealing with men and their ideas in his writings. This, however, is not the main point of the thesis, which is to analyse the connections between the two texts. The essential point of comparison is that Die Geburt der Tragödie and the Ästhetische Briefe both set out aesthetic prescriptions for a diseased culture. Certain kinds of art are deemed capable, by virtue of their timeless and incorruptible properties, of reforming the human psyche, and by extension of promoting cultural integrity and vitality. After analysing Nietzsche's attitude to Schiller, particularly in connection with the argument of Die Geburt der Tragödie, the thesis compares the strategies adopted in the two texts: both present triadic schemes of historical development, in which the Greek experience is regarded as crucial; their aesthetic 'reform programmes' are predicated on psycho-metaphysical pictures of human nature; and both texts reject attempts to cure human ills by political means. The thesis is an attempt to articulate, compare, and criticise the respective projects and to see in what sense(s) they were untimely. Both projects were untimely, in the sense that they were deliberately out of step with their times. In each case, the alleged remedial properties of art themselves are characterised as untimely. They are borrowed from another time, or are said to be out of time altogether. The thesis concludes that the two texts, although outstanding contributions to aesthetic theory, were inappropriate (untimely) attempts to tackle larger problems.
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Lees, James Christopher. "Clemens Wenzeslaus, German Catholicism, and the French Revolution, 1768-1792". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608113.
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Jang, Laurie. "Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28075.
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The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their ultimate goal of the imitation of human passions. The "problem" of textless music--i.e., its lack of semantic content--became a primary issue for aesthetic discussion and led to a re-evaluation of music's intrinsic qualities as a medium of expression.
Berlin composers working in mid-century were especially susceptible to such aesthetic developments. Led by writer/critics Lessing, Nicolai, and Mendelssohn, a unique literary renaissance characterizing the city was generating wide-spread critical debate on matters concerning the significance and meaning of art. Two major points of discussion among the literati were 1) that since classical times the arts of poetry and music had strayed too far apart, and 2) that music especially needed the support and cognitive power of a poetic text to remain a viable artistic medium. The consequences of these ideas on Berlin composers is immediately apparent in the development of the lied. In this new musical genre which achieved great popularity in Berlin, expression through text and music were considered synonymous as composers worked to close the gap between the two in their technique and methodry. However, the impact of these aesthetic beliefs is not as easily discernible in the instrumental music of mid-eighteenth century Berlin. While it was undisputed that musical tones in themselves contained some indeterminate expressive force, the rationalists' demand for concrete meaning in art led composers to develop and assess their music in terms of poetic criteria. An analysis of their works will illustrate that poetic structure, technique, and materials of expression assumed a primary role in the creation of their art. This study hopes to clarify the relationship between poetry and music through an examination of mid-eighteenth century Berlin's lied aesthetic, and selected instrumental works by J.J. Quantz and C.P.E. Bach composed in Berlin during this period.Arts, Faculty of
Music, School of
Graduate
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
Książki na temat "Painting, German – 18th century"
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Décultot, Elisabeth. Peindre le paysage: Discours théorique et renouveau pictural dans le romantisme allemand. Tusson, Charente: Du Lérot, 1996.
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National Gallery of Art (U.S.). German paintings of the fifteenth through seventeenth centuries. Washington: National Gallery of Art, 1993.
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M, Weber Gregor J., Gemäldegalerie Alte Meister (Dresden, Germany) i Columbus Museum of Art, red. Dresden in the ages of splendor and enlightenment: Eighteenth-century paintings from the Old Masters Picture Gallery : an exhibition from the Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden. Columbus, Ohio: Columbus Museum of Art, 1999.
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Waterhouse, Ellis. British 18th century painters in oils andcrayons. (Woodbridge): Antique Collectors' Club, 1991.
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Knox, George. 18th century Venetian art in Canadian collections. Vancouver: Vancouver Art Gallery, 1989.
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Vergo, Peter. Twentieth-century German painting. Redaktorzy Martin Irene i Sammlung Thyssen-Bornemisza. London: Sotheby's Publications, 1992.
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Visions of Venice: Paintings of the 18th century. London: I. B. Tauris, 2002.
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Ireland), Gorry Gallery (Dublin. An exhibition of 18th, 19th and 20th century Irish paintings. [Dublin: The Gorry Gallery], 1994.
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Gorry, Gallery (Dublin Ireland). An exhibition of 18th, 19th and 20th century Irish paintings. [Dublin: The Gorry Gallery], 1990.
Znajdź pełny tekst źródłaCzęści książek na temat "Painting, German – 18th century"
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Eitner, Lorenz. "German Romantics". W An Outline of 19th Century European Painting, 101–19. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-5.
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Mai, Anne-Marie. "Heart-Stories. Christiansfeld – an International German-Danish City of the 18th Century". W Deutsch-dänische Kulturbeziehungen im 18. Jahrhundert, 11–24. Göttingen: V&R unipress, 2018. http://dx.doi.org/10.14220/9783737009201.11.
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High, Jeffrey L., Elena Pnevmonidou i Friederike von Schwerin-High. "Strategies for teaching 18th-century German texts in the context of program building". W Outreach Strategies and Innovative Teaching Approaches for German Programs, 118–34. London ; New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429325298-8.
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Peppas, N. A. "Academic Connections of the 20th Century U.S. Chemical Engineers: Influence of the 18th and 19th Century Swedish, French and German Chemists". W One Hundred Years of Chemical Engineering, 27–37. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2307-2_3.
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Schäfer, J. "Late 18th-century innovation: The first Mediterranean purlin roof truss in German-speaking Switzerland at Embrach ZH". W History of Construction Cultures, 225–31. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173359-29.
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Ressel, Magnus. "The International Presence of Merchants from the German Empire in the 18th Century: Linking the Continental Overland and Seaborne Trade". W Migrationsforschung – interdisziplinär & diskursiv, 239–72. Göttingen: V&R unipress, 2020. http://dx.doi.org/10.14220/9783737011563.239.
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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII". W Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.
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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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"2. Language, Enlightenment and education in 18th-century Austria". W Invisibilising Austrian German, 23–46. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110547047-002.
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Malmgren, Sven-Göran. "GERMAN-SWEDISH LEXICOGRAPHY IN 18TH CENTURY POMERANIA". W Symposium on Lexicography V, redaktorzy Karl Hyldgaard-Jensen i Arne Zettersten. Berlin, Boston: De Gruyter, 1992. http://dx.doi.org/10.1515/9783111341095-012.
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Jahn, Bernhard. "Pasticcio Practice in 18th-Century German Theater". W Operatic Pasticcios in 18th-Century Europe, 103–16. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839448854-006.
Pełny tekst źródłaStreszczenia konferencji na temat "Painting, German – 18th century"
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Salomoni, A. "Dependency Parsing on Late-18th-Century German Aesthetic Writings". W DATeCH2017: 2nd International Conference on Digital Access to Textual Cultural Heritage. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3078081.3078091.
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Zhitin, R., i A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource". W Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.
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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Zhitin, R., i A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource". W Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.
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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Miller, Wallis. "Renovation and Representation : Schinkel's Neue Wache and the Politics of German Memory". W 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.31.
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Since the beginning of the 18th century, the instability of the PrussianIGerman state has affected the shape of Berlin. Constant shifts in the boundaries of the empire as well as in its ideology have forced countless architectural redefinitions of the center of its capital. The decisions to preserve, renovate, or replace Berlin’s monuments have thus always been caught between considerations of their ideological impact and their effect on the body of historic docurnentation. Schinkel’s Neue Wache grew out of this tension. It was originally designed and subsequently renovated at significant points of change in German history: it was designed after the defeat of Napoleon and renovated after WWI, modified during the Nazi period, and substantially changed at three points after WWII: in the early years of the German Democratic Republic, at the height of the Cold War, and after reunification in 1993. Consequently, its architecture has always borne traces of history consciously transformed by the ideologies of the present.
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Haiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert". W Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.
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The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.