Results 21 to 30 of about 249 (133)
Olhos de safira: introdução à leitura de O cão de Dürer, um conto de Maria João Cantinho
Acta Scientiarum: Language and Culture, 2018 Este ensaio promove uma leitura do conto ‘O cão de Dürer’, da escritora portuguesa Maria João Cantinho, publicado em 2006, evidenciando a sua correspondência com a gravura renascentista Melencolia I, de Albrecht Dürer (1514), além de outras obras do ...
Marcelo Pacheco Soares
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A touching compassion: Dürer’s haptic theology [PDF]
The Open Arts Journal, 2015 In one of the final scenes of his 1511 woodcut sequence, The Small Passion, Albrecht Dürer depicts the newly risen Christ extending his forefinger towards the head of Mary Magdalen.
Shira Brisman
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The melancholy according to Aristotle in the magic square on Duerer's Melencolia I
Acta Neophilologica, 1993 In the numbers of Duerer's Melancolia magic square is hidden the Aristotle's wonder: "How come, that all the people, excelling in philosophy or in politics or in poetry or in arts, are evidently melancholical..."
Tine Kurent
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Impersonating Dürer: German Experience of the Russian Silver Age Artist V. V. Vladimirov
Известия Уральского федерального университета. Серия 2: Гуманитарные науки, 2017 The author examines two graphic works by Vassily Vladimirov (1880–1931) created during his studies in Munich between 1905 and 1906, that imitate self-portraits of the German Renaissance master Albrecht Dürer (one of the works is from the collection of ...
Elizaveta Viktorovna Yuzhakova
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Word and Image. Polish Medieval and Renaissance Religious Writings in the European Context
Verbum Vitae, 2021 The article presents the Polish religious writing of the Middle Ages and Renaissance as an expression of correspondence between the word and image. It also demonstrates the impact of European graphics, including Albrecht Dürer’s woodcuts, upon Polish ...
Katarzyna Agnieszka Kaczor-Scheitler
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Moral Instruction by Bad Example: The First Latin Translations of Theophrastus’ Characters☆
, 2022 Renaissance Studies, Volume 36, Issue 5, Page 668-685, November 2022.
Katie Ebner‐Landy
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21: Inquiries into Art, History, and the Visual, 2023 This article examines blue paper as an ecological solution in drawing practice by investigating the questions of when and under which circumstances German artists in the early sixteenth century decided to use blue paper. Blue paper had several aesthetic,
Iris Brahms
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Acta Historiae Artis Slovenica, 2019 The essay addresses the complex background of the origins of the high quality frescoes in the succursal church of St. Primus and Felician above Kamnik from the beginning of the 16th century.
Mija Oter Gorenčič
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A “Compassion Of The Father” by Albrecht Dürer. Theological Aesthetics and Ethics in Iconography
Theologie.Geschichte : Zeitschrift für Theologie und Kulturgeschichte, 2021 Dominik Bertrand-Pfaff
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Renaissance Studies, EarlyView.ABSTRACT During the fifteenth and sixteenth centuries, there was no statutory difference between cartography, drawing and painting. These activities were performed then by craftsmen who were part of a vast group under the umbrella of ‘mechanical arts’ and fell under the ‘artifex’ category. Artifex were experts in any particular art, whether a craftsman,
Vasco Medeiros
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