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The Origins of Baroque Art in Rome
2010Journal of Art Historiography ...
HOPKINS, ANDREW JAMES, A. WITTE
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1996
The major topics painted and sculpted during the 17th century are featured here. Baroque artists chose stories not only from the Bible but also from mythology; these are not included in art history texts. In this volume, one finds the primary sources: The Golden Legend, the Bible, Ovid, and Plutarch, to name a few.
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The major topics painted and sculpted during the 17th century are featured here. Baroque artists chose stories not only from the Bible but also from mythology; these are not included in art history texts. In this volume, one finds the primary sources: The Golden Legend, the Bible, Ovid, and Plutarch, to name a few.
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Littératures classiques, 1999
Souiller Didier. D’un art poétique baroque. In: Littératures classiques, n°36, printemps 1999. Le baroque en question(s) pp. 45-61.
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Souiller Didier. D’un art poétique baroque. In: Littératures classiques, n°36, printemps 1999. Le baroque en question(s) pp. 45-61.
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Comparing the Arts in the Age of Baroque
Eighteenth-Century Studies, 1973SEVENTEENTH-CENTURY POETS, painters, musicians, architects, and other artists saw their creations primarily as vehicles by which they could move their audiences or spectators in specific ways, affecting them with specifically intended passions. That is, they saw artistic creation and function not as organic but as rhetorical in nature.
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Babinski's Sign in Medieval, Renaissance, and Baroque Art
Archives of Neurology, 1989In 1896, Joseph François Babinski first described his well-known sign of dorsiflexion of the big toe on stimulating the sole of the foot. However, unknown to Babinski, several painters had previously demonstrated this phenomenon in their paintings. Sandro Botticelli (1445-1510), a Florentine Renaissance painter, demonstrated this reflex in his Madonna ...
E W, Massey, L, Sanders
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Mannerism, Baroque, and Modernism: Deleuze and the Essence of Art
SubStance, 2014Going by the titles of his books, Deleuze has proposed two philosophical concepts for styles from art history: expressionism and baroque. It is true that he discusses many other notions from the history of style, but these are the only ones that are truly made to ‘exist in themselves’.
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