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7.047 --- 75 <45 VENEZIA> --- Art and society --- -Narrative painting, Renaissance --- -Renaissance narrative painting --- 7.047 Iconografie : landschappen stads- en dorpsgezichten zeegezichten --- Iconografie : landschappen stads- en dorpsgezichten zeegezichten --- Art --- Art and sociology --- Society and art --- Sociology and art --- 75 <45 VENEZIA> Schilderkunst--Italië--VENEZIA --- Schilderkunst--Italië--VENEZIA --- Themes, motives --- Social aspects --- Bellini, Gentile --- -Carpaccio, Vittore --- -Themes, motives --- Narrative painting, Italian --- Narrative painting, Renaissance --- Bellini, Gentile, --- 7.047 Iconografie : landschappen; stads- en dorpsgezichten; zeegezichten --- Iconografie : landschappen; stads- en dorpsgezichten; zeegezichten --- Renaissance narrative painting --- Italian narrative painting --- Carpaccio, Vittore, --- Karpachcho, Vittore, --- Scarpaccia, Vittore, --- Carpathius, Victor, --- Carpaccio, Vettore, --- Themes, motives. --- Narrative painting [Italian ] --- Venice (Italy) --- Narrative painting [Renaissance ] --- Carpaccio, Vittore
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Italian narrative painting --- Narrative painting [Italian ] --- Peinture narrative italienne --- Perspectief --- Perspective --- Verhalende schilderkunst [Italiaanse ] --- Narrative painting, Italian --- Narrative painting, Renaissance --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Renaissance narrative painting --- Narrative painting [Renaissance ] --- Italy --- Narrative painting, Renaissance - Italy.
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Cet essai s'inscrit dans une perspective d'histoire culturelle de arts,qui associe étroitement histoire de la peinture et connaissance des pratiques relligieuses. La dévotion faisait usage d'un art public dont le retable fut l'emblème la sphère plus intime de la piété générait, elle, un registre différent: limago pietatis. Formellement ce type d'image ressortait, à la fin du Moyen-Age, au genre de l'icône, hérité de Byzance. Au XVe siècle, l'Italie du Nord et les Flandres vont être le théâtre presque simultané d'innovations iconographiques majeures: la scène narative investit progressivement l'image de dévotion. L'auteur retrace avec précision la généalogie de ce processus subtil qu'initient notamment Mantegna et Hugo Van der Goes.
Painting --- Iconography --- anno 1400-1499 --- Painting, Renaissance --- Icon painting --- Peinture de la Renaissance --- Peinture d'icônes --- Painting, Renaissance. --- Analyse de l'art --- Peintre --- Icône --- Van Der Goes, Hugo --- Mantegna, Andrea --- Quattrocento --- 15e siècle --- Peinture d'icônes --- CDL --- 75.033 --- Narrative painting, Gothic --- Narrative painting, Renaissance --- Illumination of books and manuscripts, Gothic --- Illumination of books and manuscripts, Renaissance --- Renaissance illumination of books and manuscripts --- Gothic illumination of books and manuscripts --- Gothic narrative painting --- Renaissance narrative painting --- Bible. --- Ba-yon Tipan --- Bagong Tipan --- Jaji ma Hungi --- Kainē Diathēkē --- New Testament --- Nouveau Testament --- Novo Testamento --- Novum Testamentum --- Novyĭ Zavet --- Novyĭ Zavi︠e︡t Gospoda nashego Īisusa Khrista --- Novyĭ Zavit --- Nuevo Testamento --- Nuovo Testamento --- Nye Testamente --- Perjanjian Baru --- Dhamma sacʻ kyamʻʺ --- Injīl --- Illustrations.
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