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Jiří Honzl

Archaic Period. London, 1975. BOARDMAN, John. Athenian Red Figure Vases. The Classical Period. London, 1989. BOARDMAN, John. Early Greek Vase Painting . London, 1998. BOARDMAN, John. The Greeks Overseas. Their Early Colonies and Trade . London, 1999. COLLIGNON, Maxime – COUVE, Louis. Catalgoue des vases peints du Musee National d’Athens . Paris, 1902–4. CROWLEY, Janice L. The Aegean and the East: An Investigation into the Exchange of Artistic Motifs – between the Aegean, Egypt, and the Near East in the Bronze Age . Hobart, 2008

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Adrian Stoia

Abstract

The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.

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Željko Penava, Diana Šimić Penava and Marijana Tkalec

biaxial stress-strain relations in a plain-weave cloth. Journal of the Textile Institute, 54(8), T323-T347. [5] Cornelius, F.D., (1967). Movement of wood and canvas for paintings in response to high and low RH cycles. Studies in Conservation, 12(2), 76-79. [6] Fressl, I. (1966). Slikarska tehnologija. Radionice škole primijenjene umjetnosti (Zagreb). [7] FuJii, T., (1992). Study on strength and nonlinear stress-strain response of plain woven glass fiber laminates under biaxial loading. Journal of Composite Materials, 26(17), 2493-2510. [8

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Griselda Pollock

Space . Ed. Dana Arnold. London: Routledge, 2008. 115–38. Print. Pollock, Griselda. “The Object’s Gaze in the Freudian Museum.” Encounters in the Virtual Feminist Museum: Time, Space and the Archive . London: Routledge, 2007. 67–88. Print. Segarde, Manuel. Narciso Fin del Siglo . Santa Cruz de Tenerife: Melusina, 2008. Print. Stawser II, Michael J. “Dionysian Painting: A Nietzschean Interpretation.” Konsthistorisk Tidskrift/Journal of Art History 61.4 (1992): 161–72. Print. Warburg, Aby. Der Bilderatlas Mnemosyne . Ed. Martin Warnke

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Yong Zhang, S. G. Zhang, L.W. Qi, B. Liu, J. M. Gao, C. B. Chen, X. L. Li and Wenqin Song

References ANTONACCI, R., R. MARZELL, P. FINELLI, A. LONOCE, A. FORABOSCO, N. ARCHIDIACONO and M. ROCCHI (1995): A panel of subchromosomal painting libraries representing over regions of the human genome. Cytogenet Cell Genet 68: 25-32. BRADSHAW, H. D., R. CEULEMANS, J. DAVIS and R. STETTLER (2000): Emerging model systems in plant biology: Poplar (Populus) as a model forest tree. J. Plant Growth Regul. 19: 306-313. BRUNNER, A. M., V. B. BUSOV and S. H. STRAUSS (2004): Poplar genome sequence: functional genomics

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Jakub Špoták

the Maya Kings and Queens: Deciphering the Dynasties of the Ancient Maya. London: Thames and Hudson. MILLER, M. E. (2006): Maya Painting, in a Major and Minor Key. Anales del Instituto investigaciones Estéticas XXVIII (89), pp. 59-70. PROSKURIAKOFF, T. (1993): Maya History. Austin: University of Texas Press. Rice, P. M. (2007): Maya Calendar Origins. Monuments, Mythistory, and the Materialization of Time. Austin: University of Texas Press. SATURNO, W. - ROSSI, F. - STUART, D. - HURST, H. (2017): A Maya Curia Regis

Open access

Jean-Jacques Wunenburger

Abstract

This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible.

Open access

Tomasz Sobczak

Abstract

The energy of a painting is born with every brush stroke. The vitality, the acerbity, the distance, the record of emotions in general - these are only a few elements of the reality in which a PAINTING is born. In the likeness of fulfilment together with the projection of dreams. A unique diary of passing thoughts that are written within a line and a dab, thoughts that would never find their way to a recipient if not for the genius of an attempt. An attempt to register a mood, the moments when one looks for respite, together with the moments infused with the fever of the creation of answers to a question of the order and the harmony. The meaning of creation, constant in its message. Give the best you may and can give, and you will get even more. May you, dear sir, keep living in a creative and unique way! May you, dear lady, keep living in a creative and unique way!

Open access

Piotr Kołodziej

wierszach Wisławy Szymborskiej. Szkice i interpretacje, Ed. Brzozowski, J. Łódź: Wydawnictwo Uniwersytetu Łódzkiego Francis, J. (1976). Bruegel. Przeciwko władzy, Trans. Radziwiłłowa, E. Warszawa: PIW Marie, R., and Hagen, R. (2003). What Great Paintings Say, Vol. 1. Köln: TASHEN Menzel, G. W. (1969). Piotr Bruegel Starszy. Warszawa: Arkady Michajłów, A. (1991). „Ja wierzyłam, rozmowa z Wisławą Szymborską”. Tygodnik Literacki 28 Apr. 1991. Samuels, A., Shorter, B. and Plaut, F

Open access

Jan Lacina and Petr Halas

Abstract

One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.