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Art --- Polemology --- Aesthetics --- anno 1940-1949 --- World War, 1939-1945 --- Art, European --- 2eme guerre mondiale --- Art européen --- Art and the war. --- Art et guerre --- Art européen
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Political philosophy. Social philosophy --- Aesthetics --- Gouvernement représentatif --- Macht (Sociale wetenschappen) --- Parlementarisme --- Parliamentary government --- Political power --- Political representation --- Pouvoir (Sciences sociales) --- Power (Social sciences) --- Representation --- Representative government and representation --- Self-government --- Volksvertegenwoordiging --- Représentation (philosophie) --- Pouvoir (philosophie) --- art européen --- littérature européenne --- Art. --- Esthétique. --- Littérature. --- Pouvoir politique. --- Pouvoir royal. --- Représentation symbolique. --- Royauté. --- Gouvernement représentatif. --- pouvoir politique --- Représentation (philosophie). --- Pouvoir (philosophie). --- Pouvoir (Sciences sociales). --- Art européen --- Littérature européenne
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Holbein, Hans [Elder] --- Holbein, Hans [Younger] --- Colloques --- Colloquia --- Renaissance (art) --- Renaissance (kunst) --- Art, European --- Art patronage --- Art européen --- Mécénat --- Congresses --- History --- Congrès --- Histoire --- Holbein, Hans, --- Congresses. --- Art européen --- Mécénat --- Congrès
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Cet ouvrage se présente de la manière suivante : dans la marge, une " fiche signalétique " regroupe les informations eesentielles pour chaque mot clef, lieu et artiste traité. Avant le texte proprement dit, un chapeau offre, pour une consultation rapide, une synthèse en une phrase du propos. Dans les pages suivantes, sont reproduites des images en pleine page. Pour chaque sujet, le texte principal se développe toujours sur une page, alliant exactitude de l'information et clarté de l'écriture. Chaque illustration en pleine page est accompagnée d'une légende indiquant son auteur, son titre exact, sa date et sa localisation. De fins filets désignent des détails que décrivent ou expliquent des brefs commentaires. En fin du volume, la chronologie et l'index des artistes complètent l'information et facilitent la consultation. (extrait du 4ème de couverture)
Art, European --- Painting, European --- Sculpture, European --- Art européen --- Peinture européenne --- Sculpture européenne --- Histoire de l'art --- Histoire de la peinture --- Iconographie --- 19e siècle --- Panorama mondial --- Art européen --- Peinture européenne --- Sculpture européenne
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Art, Italian. --- Art, European. --- Art criticism --- Art italien --- Art européen --- Critique d'art --- Art historians --- Art, Italian --- Art, European --- Art européen --- Art criticism - Italy. --- Art historians - Italy. --- Art, Italian - 20th century. --- Art, European - 20th century.
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French literature --- Art and literature --- Art, European --- Painting, European --- Drawing, European --- Engraving --- Art et littérature --- Art européen --- Peinture européenne --- Dessin européen --- Gravure --- Baudelaire, Charles, --- poëzie --- symbolisme --- decadentie --- Les Fleurs du Mal --- Baudelaire, Charles --- Art et littérature --- Art européen --- Peinture européenne --- Dessin européen --- poëzie. --- symbolisme. --- decadentie. --- Les Fleurs du Mal. --- Baudelaire, Charles.
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Art and literature --- Dadaism --- Art, European --- Art, American --- Art et littérature --- Dadaïsme --- Art européen --- Art américain --- History --- Histoire --- dadaïsme --- futurisme --- Cravan, Arthur --- Ball, Hugo --- Tzara, Tristan --- Schwitters, Kurt --- 20ste eeuw --- Dadaism. --- Arts, Modern --- Art et littérature --- Dadaïsme --- Art européen --- Art américain --- Arts, Modern - 20th century. --- dadaïsme. --- futurisme. --- Cravan, Arthur. --- Ball, Hugo. --- Tzara, Tristan. --- Schwitters, Kurt. --- 20ste eeuw.
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Occult topics have long fascinated artists, and the subject of witches their imagined bodies and fantastic rituals was a popular one for painters and printmakers in early modern Europe. Focusing on several artists in depth, Linda C. Hults probes the historical and theoretical contexts of their work to examine the ways witches were depicted and the motivations for those depictions. While studying the work of such artists as Dürer, Baldung, Jacques de Gheyn II, and Goya, Hults discerns patterns suggesting that the imagery of witchcraft served both as an expression of artistic license and as a tool of self-promotion for the artists. These imagined images of witches were designed to catch the attention of powerful and important patrons as witchcraft was being debated in political and intellectual centers. Dürer's early engravings of witnesses made in the wake of the Malleus maleficarum of 1487 were crucial in linking the seductive or aged female form with the dangers of witchcraft. The polarized idea of gender pervaded many aspects of early modern culture, including art theory. As the deluded female witch embodied the abuse of imagination and fantasy, so the male artist presented himself as putting those faculties to productive and reasoned use.
Witches in art --- Witchcraft in art --- Gender identity in art --- Art, European --- Witchcraft --- Sorcières dans l'art --- Sorcellerie dans l'art --- Identité sexuelle dans l'art --- Art européen --- Sorcellerie --- History --- Histoire --- Esoteric sciences --- Folklore --- gender issues --- witches --- magic --- Iconography --- Sociology of the family. Sociology of sexuality --- Dürer, Albrecht --- Francken, Frans [Younger] --- Gheyn, de, Jacques II --- Baldung Grien, Hans --- anno 1600-1699 --- anno 1500-1599 --- Europe --- Sorcières dans l'art --- Identité sexuelle dans l'art --- Art européen --- anno 1500-1799 --- gender --- magic [occult science] --- Gender --- Witches --- Images of women --- Visual arts --- Book
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