Results 21 to 30 of about 87,973 (229)
Novobaroko a česká sochařská generace devadesátých let 19. století
Acta Universitatis Carolinae: Philosophica et Historica, 2021 Second half of the 19th century saw a number of national attempts to revise the Baroque values. Czech Neo-Baroque sculpture represents a style-expressive tendency, which reflected this nationally motivated interest and at the same time became a response ...
Martina Bezoušková
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, 2016 To facilitate computer analysis of visual art, in the form of paintings, we introduce Pandora (Paintings Dataset for Recognizing the Art movement) database, a collection of digitized paintings labelled with respect to the artistic movement.
Boia, Raluca +5 more
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Molière baroque : « définir contre » ?
Etudes Epistémè, 2006 « Molière, Baroque »? Not so long ago, this statement itself might have seemed « baroque », in the sense the word would have had in the period. To make of Molière, the great Classical author, the spokesman for French values par excellence (reason ...
Carol Clark
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International Journal of Urban and Regional Research, EarlyView.Abstract This article examines the Yeditepe Biennial—Turkey's first Islamic and traditional arts biennial—as a creative festival shaped by the socio‐political and spatial dynamics of Turkish‐Islamist nationalism. Counterposed against the Istanbul Biennial and the Western‐oriented secular cultural legacy of the Turkish Republic, the Yeditepe Biennial ...
Hulya Arik, Sabrien Amrov
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‘German Baroque and ‘Sonderrokoko’: canonising and ‘nationalising’ the arts in Germany during the long nineteenth century’. Review of: Ute Engel – Stil und Nation. Barockforschung und deutsche Kunstgeschichte (ca. 1830-1930), Paderborn: Wilhelm Fink, 2018 [PDF]
Journal of Art Historiography, 2019 In her book on the historiography of German Baroque and Rococo art during the period 1830-1930, Ute Engel discusses how the rediscovery of the German Baroque led to the canonization of many monuments and artists.
Arnold Witte
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Mervyn Peake’s Gormenghast Novels: a Baroque Hostility to Straight Lines
Études Britanniques Contemporaines, 2005 Can Peake’s Gormenghast novels be termed baroque? This paper suggests the beginnings of an answer by examining one aspect which is usually considered a distinguishing feature of baroque art, namely, its marked preference for curves, broken lines, spirals
Sophie Mantrant
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The crisis of the «gran macchia»: Bigongiari’s Guercino
Intrecci d'arte, 2023 The essay examines the thought of the poet and literary critic Piero Bigongiari (Navacchio, Pisa, 1914 - Florence, 1997) about the path of Guercino. Opposing the traditional reading, which divides it into two distinct phases, Bigongiari maintains its ...
Daniele Benati
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De Stupro: First Insights on Rape and Its Prosecution in Maltese Courts (1701–10)
Journal for Eighteenth-Century Studies, EarlyView.Abstract This article constitutes a first in‐depth investigation of rape and the prosecution of this crime in early eighteenth‐century Malta. The research, which is based on sixteen rape accusations claimed at the secular courts in Malta between 1701 and 1710, has analysed cases categorized as ‘simple rape’, ‘violent rape’ and rape committed under the ...
Vanessa Buhagiar
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Modern Theology, EarlyView.Abstract Examining work by Rowan Williams, this essay explores what he often refers to as the ‘difficulty’ of writing theology. The difficulty of theology lies in engaging the ruse of having ultimate answers to ultimate questions. The stakes are high: ‘God‐talk’ must concern itself with truth, with reality.
Graham Ward
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‘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
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