Results 51 to 60 of about 5,649 (199)

Palaces for a New Spain Nobility: Between Creole Identity and Academicism

Sociology Lens, Volume 38, Issue 1, Page 75-86, March 2025.
ABSTRACT Mexico City and Havana had a significant number of noble palaces during the eighteenth century. Until now, the dearth of historical documentation on their construction has hampered any approximation, requiring other methodologies. Here, it is intended to establish how a new visual code was defined, consistent both with their local style and ...
Pedro Luengo
wiley   +1 more source

Mr. M and Mr. D´s refuge

Arteterapia, 2013
The cases presented in this article are two participants in project ACTION * CREATION. This project is part of ARIADNE, a European research that aims to systemize art methods to facilitate the adjustment of immigrants and to help reduce their stress and ...
Tania Ugena Candel, Berta de la Dehesa Amo   +1 more
doaj   +1 more source

‘I'm Dead!’: Action, Homicide and Denied Catharsis in Early Modern Spanish Drama

Renaissance Studies, EarlyView.
Abstract In early modern Spanish drama, the expression ‘¡Muerto soy!’ (‘I'm dead!’) is commonly used to indicate a literal death or to figuratively express a character's extreme fear or passion. Recent studies, even one collection published under the title of ‘¡Muerto soy!’, have paid scant attention to the phrase in context, a serious omission when ...
Ted Bergman
wiley   +1 more source

Rastros do Realismo Socialista na América: trajetórias e conflitos na primeira metade do século XX

Fronteiras, 2017
A preocupação social da arte no continente americano na primeira metade do século XX pode certamente ser relacionada com a influência exercida pelo muralismo mexicano e de ecos do realismo socialista difundidos por partidos políticos
Tiago da Silva Coelho
doaj  

What Does Intarsia Say? Materiality and Spirituality in the Urbino Studiolo☆

Renaissance Studies, EarlyView.
Abstract Upon entering the Urbino studiolo of Federico da Montefeltro, the visitor is struck by a material‐charged environment. Surprisingly, only a few scholars have addressed one prominent aspect of the decorative scheme, namely, the feature of intarsia as a medium. Even so, it remains on the sidelines of the discussion.
Matan Aviel
wiley   +1 more source

Obesity and the Politics of Taddeo di Bartolo's Inferno

Renaissance Studies, EarlyView.
ABSTRACT This paper examines Taddeo di Bartolo's depiction of Hell in the Collegiata di Santa Maria Assunta, the mother church of San Gimignano. In a striking departure from similar scenes of the period, the fresco, painted in the early fifteenth century, emphasizes the obesity of the sinners—suggesting a deliberate visual critique.
Stefania Roccas Gandal
wiley   +1 more source

Que é artificação? What is "artification"?

Sociedade e Estado, 2007
Hà um aumento constante na produção de arte na sociedade e na pesquisa sobre arte e cultura dentro das ciências sociais. Conseqüentemente, parece apropriado propor a artificação como um campo novo para a Sociologia da Arte e da mudança social e cultural.
Roberta Shapiro
doaj   +1 more source

Artifex Ars Cartographica: Collaboration Between Portuguese Painters and Cartographers in the Fifteenth and Sixteenth Centuries

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
wiley   +1 more source

Cross Media Arts: social arts and collaboration

Social and Collaborative Art refers to a socially engaged artistic practice through the involvement, in the process of its realisation, collaborating directly or indirectly in its production or discussion, of other agents besides the artist(s), namely a community or a specific group of individuals. It is often a transdisciplinary and inclusive practice,
Pinto, Paula Reaes, Gorgel Pinto, António, Vicente, Sérgio   +2 more
openaire   +2 more sources

More Science Than Art: The First Botanical Garden in Portugal (c. 1650)

Renaissance Studies, EarlyView.
ABSTRACT Gabriel Grisley, a German physician, came to Portugal and founded a garden near the Xabregas River in Lisbon, during the 1610s under the Spanish kings' rule. In view of the utility a botanic garden represented for the kingdom, he was able to obtain a royal privilege from King João IV during the Restauration War against the Spanish (1640–1668).
Ana Duarte Rodrigues
wiley   +1 more source