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Aesthetics --- Bilquin, Jean --- 75.07 --- (069) --- 73.07 --- Schilderkunst ; 1966-2007 ; Jean Bilquin --- Tentoonstellingscatalogi ; Gent ; Kunsthal Sint-Pietersabdij --- Belgische kunstenaars --- Schilderkunst ; figuratieve --- Beeldhouwkunst ; 1998-2007 ; J. Bilquin --- Schilderkunst ; schilders --- (Musea. Collecties. Tentoonstellingen) --- Beeldhouwkunst ; beeldhouwers A - Z --- Exhibitions --- Bilquin, Jean,

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Suite de RILA (International Repertory of the Literature of Art) et de Répertoire d'art et d'archéologie (F 462 R)

Art --- Kunst. --- Bouwkunst. --- Art. --- Archéologie --- Art, Daghestan --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- 7 <09> --- 7 <01> --- 016.7 --- 709 --- 7 <09> Kunstgeschiedenis. Kunsthistorie --- Kunstgeschiedenis. Kunsthistorie --- 7 <01> Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Bibliografieën. Catalogi --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Bibliografieën. Catalogi --- Arts Historical and geographical treatment --- Periodicals --- Abstracts --- Periodicals. --- Indexes --- Bibliographie --- Périodiques --- Résumés analytiques --- Index --- Library and Information Sciences --- General and Others

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The critical endeavor to define the relationship between the verbal and the visual arts commenced in the eighteenth century with Lessing's Laokoön (1766), which sought to discriminate between 'natural' and 'arbitrary' signs. During the Romantic period many of Lessing's aesthetic and semiotic assumptions had been challenged. A greater role was granted to the capacity of imagination to mediate perceptions and ideas and bring word and image into a virtually spontaneous interchange. The attributes of the imagination as developed in English and German Ronaticism constitute the opening section of this volume, and the second section traces the consequences for the relationship between hte 'Sister Arts'. The third section examines two key concepts of Romantic aesthetics, the Picturesque and the Sublime, which stirred profound response among the poets as well as the painters. That poetry should thus find itself in a rivalry with the visual arts gave special impetus to a specific mode of mimesis during the Romantic period, a self-reflexive mode in which the very process of imitation becomes the subject-matter. The fourth section thus investigates ekphrasis, that subspecies of mimesis which involves the imitation of imitation as the poet set out to recreate in words the visual experience of art. The final section is devoted to the particular characteristics of English and German Romanticism as they defined the mode, manner, and style of the period...Back cover.

Old French literature --- German literature --- Literary semiotics --- Art --- English literature --- anno 1800-1899 --- Romanticism --- Romanticism in art --- Romantisme --- Romantisme dans l'art --- Philosophy --- Philosophie --- 82.091 --- -Romanticism --- -Romanticism in art --- -Idealism in art --- Naturalism in art --- Realism in art --- Pseudo-romanticism --- Romanticism in literature --- Aesthetics --- Fiction --- Literary movements --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Vergelijkende literatuurstudie --- French literature --- Imitation in literature --- Literature, Medieval --- Translating and interpreting --- Philosophy. --- History and criticism --- Congresses. --- -Vergelijkende literatuurstudie --- 82.091 Vergelijkende literatuurstudie --- -82.091 Vergelijkende literatuurstudie --- Romanticism (Art) --- -Pseudo-romanticism --- Idealism in art --- Beautiful, The --- Beauty --- Art and philosophy --- Analysis, interpretation, appreciation --- Congresses

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'UPDATE_6' gives an overview of how new technological art has developed since the 1950's. At the site 'Zebrastraat Ghent' various renowned and upcoming artists gave their take on the idea of new technological art. Update_6 reflects of this international exhibition and takes the reader on an insightful journey through the evolution of how the new technological arts have unfolded through history. The appearance, during the 1950's, of electronic and computer tools in the arts, forced artists to a more in-depth knowledge of techniques and their languages to "master" the new instruments that were now put at their disposal by engineers. Artists reacted to this new development in two main ways: either by collaborating with engineers or by learning to use the new techniques themselves. This new undertaking also forced the artist to make an ideological choice: proceed with the idea of art as 'causa mentale', or consider finding new ways to master the technology and submit it to their artistic needs. In practice of course, this 'pas de deux' was not as straightforward and, over time, many different exchanges and interweavings saw flourishing. This book aims to provide an overview of the most relevant authors, exhibitions, events and places. Exhibition: Zebrastraat, Ghent, Belgium (2016).

new media art --- Contemporary [style of art] --- Art --- anno 1900-1999 --- Mandiberg, Michael --- Wang, Lien-Cheng --- Stanza --- Depoorter, Dries --- Schubert, Theresa --- Friedrich, Verena --- Wolf, Sebastian --- Kugler, Michael --- Lee, Marc --- Grossmann, Julien --- Joris, Eric --- Heuninck, Elias --- Chierico, Alessio --- Vorn, Bill --- Smigla-Bobinski, Karina --- Smrekar, Maja --- Cleene, De, Michiel --- Demers, Louis-Philippe --- Quadrature [Berlin] --- 1024 architecture [Paris] --- Assocreation --- CREW --- Art and technology --- 778.5 --- Tentoonstellingscatalogi ; Gent ; Zebrastraat --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Technology and art --- Technology --- History --- Awards --- Kunst nieuwe technieken ; video, laser, computer, klank, --- Exhibitions --- New Technological Art Award (NTAA) --- 778.5.039 --- Art, Primitive --- Kunst nieuwe technieken ; 2000-2050 --- kunst en technologie

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Art --- University of Antwerp --- anno 1900-1999 --- Belgium --- Art, Belgian --- Art, Modern --- Forces murales (Group of artists) --- Mass Moving (Group of artists) --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Belgian art --- Sint-Martens-Latem (Group of artists) --- XX (Group of artists) --- Zwarte Panter (Group of artists) --- Universiteit Antwerpen --- Art collections. --- Buildings. --- Pictorial works --- Architecture --- Kunst --- Cox, Jan --- Vanriet, Jan --- Aguirre, Philip --- Mey, de, Gaston --- Maeyer, Marcel --- Leblanc, Walter --- Folon, Jean-Michel --- Soom, van, Luk --- Maele, van, Marcel --- Pistoletto, Michelangelo --- Vandenbranden, Guy --- Dillemans, Sam --- Alechinsky, Pierre --- Moeschal, Jacques --- Tajiri, Shinkichi --- Gijsegem, van, Paul --- Fabre, Jan --- Bilquin, Jean --- Theys, Yvan --- Dries, Jan --- Gentils, Vic --- Dodeigne, Eugène --- Reinhoud --- Wyckaert, Maurice --- Vandenberg, Philippe --- Bervoets, Fred --- Hoeydonck, van, Paul --- Swimberghe, Gilbert --- België --- 069(493) --- 7.038 --- Kunstcollecties ; België ; Universiteit Antwerpen --- Musea. Collecties ; België --- Kunstgeschiedenis ; 1950 - 2000 --- Antwerp (Belgium). --- Université d'Anvers --- Rijksuniversitair Centrum Antwerpen --- Universitaire Faculteiten St.-Ignatius --- Universitaire Instelling Antwerpen --- Art, Primitive --- architecture [discipline] --- Antwerp --- Art, Belgian 20th century --- 20th century --- Aguirre y Otegui, Philip