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exhibition review --- book review --- crucifixions --- Campin, Robert
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L'homme en croix, qui fut entre Ve et XIXe siècle le symbole identitaire du christianisme, est désormais l'un des sujets-symboles les plus universels qui soient, dans toutes les formes d'art de tous les continents. Il échappe à tout contrôle ecclésiastique ou politique, est la cible de toutes les dérisions et bricolages, et aussi l'outil rhétorique le plus éloquent pour dénoncer les maltraitances infligées à des populations ou à des personnes assimilables dès lors à des "crucifiées" .
Iconography --- History of civilization --- crucifixions --- crucifixion --- Christus aan het Kruis --- Jesus Christ --- Crucifixion in art --- Crucifiement dans l'art --- Jésus-Christ --- Crucifixion --- Dans l'art. --- Jésus-Christ --- Christelijke kunst
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Analyse de ce tableau de Caravage fondée sur trois axes. Le premier envisage les rapports de la toile avec son environnement et démontre que celui-ci influe sur la perception de l'oeuvre. Le deuxième analyse le couple bourreau-victime dans l'histoire de la peinture. Le dernier relève de l'aspect formel et s'attache aux représentations de face et de profil. ©Electre 2017
Caravage, Le --- Catalogues d'exposition --- Painting, Italian --- Peinture italienne --- Jesus Christ --- Caravaggio, Michelangelo Merisi da, --- Passion --- Art --- Drawing --- Painting --- Christianity --- crucifixions --- drawings [visual works] --- easel paintings [paintings by form] --- Caravaggio --- Musée des beaux-arts [Rouen] --- Art. --- Caravage, Le (1573?-1610). --- Expositions. --- Influence
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Es ist ein Schlüsselwerk der europäischen Kunstgeschichte, geschaffen von einem der rätselhaftesten Künstler der frühen niederländischen Malerei. Das jüngst restaurierte, auf beiden Seiten bemalte Gemäldefragment ist der einzig erhaltene Teil eines großformatigen Kreuzabnahme-Triptychons, das zu den bedeutendsten und einflussreichsten Werken seiner Zeit gehört hat. Neben den Ergebnissen der technologischen Untersuchung und Restaurierung des Gemäldes werden 13 ausgewählte Kunstwerke Vergleichsstücke präsentiert, darunter die namensgebenden "Flémaller Tafeln", die "Medici-Madonna" Rogier van der Weydens sowie gefasste und ungefasste Skulpturen des Meisters des Rimini-Altars und Hans Multschers. Sie lassen exemplarisch die wechselseitigen Bezugnahmen zwischen Mal- und Bildhauerkunst erkennen und tragen so zu einem tieferen Verständnis für den atemberaubenden Detailrealismus und die suggestive Wirkung des Retabels auf den zeitgenössischen Betrachter bei.
crucifixions --- easel paintings [paintings by form] --- Campin, Robert --- Altarpieces, Renaissance --- Painting, Netherlandish --- Netherlandish painting --- Renaissance altarpieces --- Conservation and restoration --- Maître de Flémalle, --- Exhibitions --- Städel Museum (Frankfurt) --- restauratie --- techniek --- Meester van Flémalle --- 15de eeuw --- techniek. --- restauratie. --- Städel Museum (Frankfurt). --- Meester van Flémalle. --- 15de eeuw.
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Aesthetics --- Art --- art [fine art] --- religious art --- crucifixions --- Christian art and symbolism --- 246.5 --- 246.5 Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Emblematiek. Iconologie. Christelijke iconografie. Dodendans --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- art [discipline]
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Drawing on new archaeological evidence, an authoritative history of Rome’s Great Fire—and how it inflicted lasting harm on the Roman EmpireAccording to legend, the Roman emperor Nero set fire to his majestic imperial capital on the night of July 19, 64 AD and fiddled while the city burned. It’s a story that has been told for more than two millennia—and it’s likely that almost none of it is true. In Rome Is Burning, distinguished Roman historian Anthony Barrett sets the record straight, providing a comprehensive and authoritative account of the Great Fire of Rome, its immediate aftermath, and its damaging longterm consequences for the Roman world. Drawing on remarkable new archaeological discoveries and sifting through all the literary evidence, he tells what is known about what actually happened—and argues that the disaster was a turning point in Roman history, one that ultimately led to the fall of Nero and the end of the dynasty that began with Julius Caesar.Rome Is Burning tells how the fire destroyed much of the city and threw the population into panic. It describes how it also destroyed Nero’s golden image and provoked a financial crisis and currency devaluation that made a permanent impact on the Roman economy. Most importantly, the book surveys, and includes many photographs of, recent archaeological evidence that shows visible traces of the fire’s destruction. Finally, the book describes the fire’s continuing afterlife in literature, opera, ballet, and film.A richly detailed and scrupulously factual narrative of an event that has always been shrouded in myth, Rome Is Burning promises to become the standard account of the Great Fire of Rome for our time.
Great Fire, Rome, Italy, 64. --- Nero, Emperor of Rome, 37-68. --- Rome --- History --- Aventine. --- Christians. --- Circus Maximus. --- Dio. --- Golden House. --- Great London Fire. --- New Rome. --- Palatine. --- Pilate. --- Roman. --- Suetonius. --- Tacitus. --- ancient fires. --- architecture. --- arson. --- coliseum. --- conspiracy. --- crucifixions. --- economy. --- empire. --- fiddling while Rome burns. --- history of fire. --- lake. --- persecution. --- procurator. --- urban fires.
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