Search results: Found 16

Listing 1 - 10 of 16 << page
of 2
>>
Sort by
"Schönheit gibt es nur noch im Kampf" - Zum Verhältnis von Gewalt und Ästhetik im italienischen Futurismus

Author:
ISBN: 9783863952426 Year: Language: German
Publisher: Universitätsverlag Göttingen
Subject: Arts in general
Added to DOAB on : 2016-06-21 11:02:36
License:

Loading...
Export citation

Choose an application

Abstract

„Man schreit vor Angst und Entsetzen. Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfaßbarste, das seit Menschengedenken gemacht worden ist.“ Der Künstler Hugo Ball (1886–1927) zeigte sich 1913 nach seinem Besuch des Kunstsalons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentlichung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung „Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein“ wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kultur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde.

Die Englische Manier - Mezzotinto als Medium druckgrafischer Reproduktion und Innovation

Authors: --- --- --- --- et al.
ISBN: 9783863951627 Year: Pages: 293 Language: German
Publisher: Universitätsverlag Göttingen
Subject: History of arts --- Arts in general
Added to DOAB on : 2014-12-06 11:01:10
License:

Loading...
Export citation

Choose an application

Abstract

Die Schabkunst, aufgrund ihrer besonderen Blüte im englischen 18. Jahrhundert zur Zeit der Personalunion hannoverscher Herzogs- und britischer Königswürde auch „Englische Manier“ genannt, ist die erste grafische Technik, in der über Linie und Schraffur hinaus flächige Tonwerte und Tonwertabstufungen geschaffen werden konnten. Malerische Werte ließen sich erzeugen und malerische Werke nachbilden. Anders als in den liniengebundenen Techniken des Kupferstichs und der Radierung ermöglichten mechanische Aufrauhung und deren dosierte Glättung Töne von samtigem Schwarz bis zu reinem Weiß. Erfindung und Perfektionierung, Nutzung und Verbreitung, Traditionsbildung und Experimentalpotential dieser druckgrafischen Technik können anhand der Schabkunstwerke der Grafischen Sammlung der Universität Göttingen und einiger Leihgaben vorgeführt werden: 105 Werke demonstrieren erste Experimente deutscher und niederländischer Laien und Künstler, technische Perfektionierungen in den druckgrafischen Zentren Augsburg und Nürnberg, Adaptionen in Frankreich und Italien, Verselbständigung des Mediums in England und experimentelle Verwendung als künstlerisches Ausdrucksmittel in der deutschen Frühmoderne. Funktionsgebundene Nutzung als Medium der Gemäldereproduktion und lebensnahen Bildniskunst, und erstmals als Naturnähe ermöglichendes Dokumentationsmittel in den frühneuzeitlichen Naturwissenschaften werden thematisiert.

Catalogue of Turkish Manuscripts in the Library of Leiden University and Other Collections in the Netherlands. Minor Collections.

Author:
Book Series: Islamic Manuscripts and Books ISBN: 9789004221901 9789004221918 Year: Volume: 3 Pages: xxii, 410 DOI: 10.26530/OAPEN_421590 Language: English
Publisher: Brill Grant: Nederlandse Organisatie voor Wetenschappelijk Onderzoek
Subject: Social Sciences --- History --- Bibliography --- Languages and Literatures
Added to DOAB on : 2012-07-20 14:49:24
License:

Loading...
Export citation

Choose an application

Abstract

From as early as the 1600s, Dutch scholars and scholarship have displayed a keen interest in the studies of the Islamic world. Over the centuries, they have collected a wealth of source texts in various languages, Turkish texts being prominent among them. The present catalogue is the fourth and final volume in a series that covers the Turkish manuscripts preserved in public libraries and museums in the Netherlands. The volume gives a detailed description of Turkish manuscripts in minor Dutch collections, found in libraries and museums in Amsterdam, Groningen, The Hague, Leiden, Rotterdam and Utrecht, which hitherto have received little or no attention.

Οι τοιχογραφίες του 13ου αιώνα στις εκκλησίες της Ρόδου

Author:
Book Series: CHRISTIAN ARCHAEOLOGICAL SOCIETY. ChAE E-PRESS / 1 ISBN: 9789609374736 Year: Pages: 326 DOI: 10.12681/chae.6.14 Language: Greek with English Summary
Publisher: Christian Archaeological Society (ChAE)
Subject: Visual Arts --- History of arts
Added to DOAB on : 2019-01-26 09:42:31
License:

Loading...
Export citation

Choose an application

Abstract

The study focuses on the monumental painting of the island of Rhodes, Greece, during the 13th century and specifically from the year 1204, when the Byzantine official Leo Gabalas took over the administration of the island, until the arrival of the Knights of Saint John in 1309. The remains of the artistic production are located in six churches in the town and the countryside of Rhodes.The monuments in question are presented in chronological order. After the detailed description and iconographic examination follows the stylistic analysis of the wall paintings along with the proposed dating. In particular, the study deals with the fres- coes of Hagios Phanourios in the Medieval Town of Rhodes, of the monastery of the Archangel Michael at Thari, of Hagios Ioannes Theologos at Kouphas in Paradeisi, of Hagios Niketas in Damatria, of Hagios Georgios Vardas in Apolakkia (1289/90) and of Hagi- os Georgios Kounaras in Asklepeio. Two sub-chap- ters concerning the wall paintings of the church of Hagios Georgios Vardas were expanded because of their special interest: one concerns the rare inscrip- tion Akedioktene which accompanies the representa- tion of the Virgin Glykophilousa and the other deals with the iconography and local cult of Saint Philemon, following his rare representation in the church. Given that the paintings of the church of Hagios Georgios Kounaras in Asklepeio is ascribed to the same hand as that of Hagios Georgios Vardas, the painter’s style in both monuments and the particularities of his art are examined in a special chapter.In the final part of the book, the overall consid- eration of the artistic production is developed: the structure and order of the iconographic pro- grammes are assessed, some interesting issues of iconography are discussed, as well as matters concerning the donors of the churches. The stylistic trends are analysed, compared with monuments from other Dodecanese islands and within the artistic currents of the first and second half of the 13th century.

Kulturraum Österreich

Author:
ISBN: 9783205777205 Year: Pages: 632 Seiten DOI: 10.26530/OAPEN_437146 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3945
Added to DOAB on : 2013-03-27 11:48:44
License:

Loading...
Export citation

Choose an application

Abstract

While the first volume of the overalll work, which was published as "The historical Area of Austria" ("Geschichtsraum Österreich") in 2006, focused on the Hapsburgian "whole state" from the perspective of the most important phenomena and protagonists of the "Hapsburgian iconography", this second and concluding volume examines multifarious visualisations of the regional and supraregional historical myths of the 19th century in Vienna, the "centre", and in the regions, i.e. the Austrian Crownlands (part of which are identical with today´s federal provinces of the Republic of Austria). The difficult relationship between the "whole state" and the Crownlands constitutes the entire, extremely complex spectrum of reflections on Austrian 19th century history. Here, the kinds of methods and concrete goals with which regional memorial foundations interact or compete with dynastic strategies is a pivotal issue - on that has been examined only far too rarely in the past. Hence the present work intends to discuss both art-historical and historical phenomena with explore various historical reflections at the - frequently neglected - "periphery" and investigate visual approaches to one´s "own" history from the "present" of the 19th century (using prominent events such as the second Ottoman siege of 1683 and the "wars of liberation" against Napoleon as an example). The degrees of complexity, quantitative permeation and significant contrasts between Vienna - the "centre" - and the "provinces" in their different reflections on Austrian history clearly begin to emerge when we examine an extensive range of topics against the background of competing national, regional and communal strategies. Compared to the first volume "The historical Area of Austria", the perspective of the multifarious "historical area of Austria" shifts from the "whole state" to an analysis of a highly distinct "plurality of areas" (Karl Schlögel) with its own intrinsic laws. Such diversity is also an essential factor when we come to investigate the prolific amount of Austrian landscape art in the 19th century and the role it played in forging identity. It graphically demonstrates that a deeper understanding of Austria´s federal structures is not possible without gaining a comprehensive insight into 19th century history.

Geschichtsraum Österreich

Author:
ISBN: 9783205775225 Year: Pages: 576 Seiten DOI: 10.26530/OAPEN_437150 Language: German
Publisher: Böhlau Grant: Austrian Science Fund - D 3827
Added to DOAB on : 2013-03-27 11:48:48
License:

Loading...
Export citation

Choose an application

Abstract

The history is intended as the first comprehensive examination of the role of Austrian history in the visual arts of the Habsburg monarchy between 1804 and 1918. At its centre are the following three key questions: What status did the general preoccupation with history acquire? What where the favorite historical subjects for artistic representation? What significance did the Habsburgs´own history (almost endlessly "extendible" all the way back to its fictitious mythical beginnings) hold for the issues of the day? Works of art contribute to the creation of traditions in a double sense: a given work simultaneously contains and creates history. A work of art is also a medium for social identification, facilitating communication between the monarch and the people. Investigating the characteristics of the different "reflections on history" in the visual arts in Austria in the 19th century led to the practical necessity of significantly widening the known material basis. It became apparent that previous research was based on a relatively limited range of works (primarily "high art") and failed to relate these works to literary documents from the fiields of historiography or belles-lettres. I believe it is only by expanding the basis in terms of both word and picture documentation that a reliable overview of the different strategies pursued by Habsburg iconography can be gained. Not only did my chosen methodology seem expedient, and indeed almost indispensable for an examination of concrete historical cases, it also reveals that this interlocking approach (furthermore justified by the nature of the material) based on interrelating picture and text media contains the very key to a proper investigation of the historical art of the 19th century. In approaching the central questions, this study begins with an introduction that looks at concepts and methodology and charts the difficult formation of the "Austrian nation" from "Casa d´Austria" to the Habsburg "nation state". The second chapter examines the relevance of the Austrian 18th century in the consciousness of the following century based on the examples of rulers Maria Theresia and Joseph II. This is folloewd almost of necessity by a long section on the ruler iconography of the period Emperor Franz II (I) to Emperor Franz Joseph I. The visual strategies of the Habsburg rulers in the 19th century and the inseparable question of the legitimation of the Austrian Empire in the years after 1848 steer attention back to the quest for "origins" and to the Habsburg "insurance policy" of evoking the figure of founding father Rudolf I. This forms the main focus of the fourth chapter. In this context, the various appeals to the famous progenitor assume the character of an "underpinning" myth (Jan Assmann). The final chapter attempts to provide answers to questions relating to the "flowering" of Austrian historiography in the 19th century relative to historical interpretations in painting. The complex genesis of the celebration of glorious Austrian deeds ist examined on the basis of the concrete example of "military iconography" and the decoration of the "hall of fame" in the "Arsenal" in Vienna.

Lexicographie artistique

Authors: --- ---
Book Series: Théorie des Art ISBN: 9782367812663 Year: Pages: 452 DOI: 10.26530/OAPEN_644313 Language: French|English
Publisher: Presses Universitaires de la Méditerranée - PULM Grant: FP7 Ideas: European Research Council - 323761
Subject: History --- Visual Arts --- History of arts --- Arts in general
Added to DOAB on : 2018-02-22 11:01:58
License:

Loading...
Export citation

Choose an application

Abstract

ven if they are contradictory, the different senses give thickness and subtlety to the concept.&#xD;&#xD;           The journey of a notion in time and space then also contributes&#xD;&#xD;to broadening our understanding of a cultural history between&#xD;&#xD;universality and identity within the artistic diversity that&#xD;&#xD;characterizes modern Europe.

The Nonconformists

Author:
ISBN: 9789639776135 9786155211362 Year: Language: English
Publisher: Central European University Press
Subject: Anthropology
Added to DOAB on : 2015-05-19 15:18:48
License: OpenEdition licence for Books

Loading...
Export citation

Choose an application

Abstract

Serbia’s national movement of the 1980s and 1990s, the author suggests, was not the product of an ancient, immutable, and aggressive Serbian national identity; nor was it an artificial creation of powerful political actors looking to capitalize on its mobilizing power. Miller argues that cultural processes are too often ignored in favor of political ones; that Serbian intellectuals did work within a historical context, but that they were not slaves to the past. His subjects are Dobrica Ćosić ...

Das zusammengedrängte Gedenken

Author:
ISBN: 9783990280751 Year: Pages: 312 Seiten DOI: 10.26530/OAPEN_605079 Language: German
Publisher: Verlag Bibliothek der Provinz GmbH Grant: Austrian Science Fund - PUB 89
Added to DOAB on : 2016-03-23 11:01:25
License:

Loading...
Export citation

Choose an application

Abstract

In 1847, the Austrian painter Leopold Kupelwieser (1796-1862) was commissioned to execute a fresco cycle in the Ceremonial Hall of the Niederösterreichische Statthalterei (Lower Austrian Government Building, Vienna), depicting scenes from Austrian history. Iconographic aspects of each painting, using pictorial and literary sources as well as pointing out biographical connections and artistic forebears and influences, are being discussed. The complex interplay between art technology and conceptual statements manifests itself particularly articulate in the focal point of cartoon and fresco; accordingly, this study approaches Kupelwiesers work through the description of the materials he used and the way he processed them.

LexArt Les mots de la peinture

Author:
Book Series: Théorie des Art ISBN: 9782367812694 9782367812694 Year: Pages: 506 DOI: 10.26530/OAPEN_1000263 Language: French
Publisher: Presses Universitaires de la Méditerranée - PULM Grant: FP7 Ideas: European Research Council - 323761
Subject: Linguistics --- Visual Arts --- Arts in general
Added to DOAB on : 2019-01-15 13:34:37
License:

Loading...
Export citation

Choose an application

Abstract

LexArt. The words of painting is a dictionary of terms and concepts, which, from the artistic literature, in a synchronous approach of discourse and artistic practice, describe the painting as it is practiced in France, Germany, England and the Netherlands in the 17th and 18th centuries. These writings constitute the mental, intellectual and visual universe, which makes it possible to better apprehend the work of art, and shape the eye to better see. The purpose of this book is to highlight the stakes of uses resituated in different contexts in time and space, in a confrontation of ways of thinking, painting and watching. Seventy-seven essays address nearly two hundred and fifty notions. The articles respond to each other, and form an ensemble which, behind the alphabetical order of the dictionary, draws the contours of a new reading of the painting seen through the eye of the painter and the eye of the spectator. Indeed, the "speaking painting" does not only introduce the viewer into the painter's studio by showing him the "how to do", he introduces him into the painting itself, shows him what to see and how see.

Listing 1 - 10 of 16 << page
of 2
>>
Sort by