Results 31 to 40 of about 1,540,351 (180)
Chasing the perfida Albione: Anglo‐Italian productivity gap in the late 1930s
The Economic History Review, EarlyView.Abstract This paper presents new estimates of Anglo‐Italian labour productivity levels in manufacturing in the late 1930s, derived using the standard single‐deflation approach. The findings confirm a substantial productivity gap between Italy and the United Kingdom at the aggregate level, alongside pronounced intersectoral heterogeneity.
Tancredi Salamone
wiley +1 more source
Collingwood's Everyday Aesthetics
European Journal of Philosophy, EarlyView.Abstract Any adequate account of aesthetic experience must be able to accommodate the pervasiveness of aesthetic experiences in everyday life. While writers on everyday aesthetics have frequently taken inspiration from John Dewey's Art as Experience, my aim in this article is to show that there is another work in the history of the discipline that ...
Mark Windsor
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Disciplining the Digital: Virtual 3D Reproduction, Pilgrim Badges, and the Stuff of Art History
British Art Studies, 2017 A group of respondents discuss the implications of using 3D imaging technology in for accessibility, teaching, and research. This Conversation brings together a polyphony of voices, drawn from a range of positions in the small but growing world of ...
Amy Jeffs +10 more
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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
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Introduction: the resonant object [PDF]
Journal of Art Historiography, 2019 This introductory paper introduces The Resonant Object, a special issue of the Journal of Art Historiography which honours the intellectual legacy of Charles W.
Amy K. Hamlin, Robin Schuldenfrei
doaj
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
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Contextualizing the Cappella Cesi: Sangallo, Façades, and Renaissance Collaboration
Renaissance Studies, Volume 40, Issue 3, Page 489-506, June 2026.Abstract This article reframes Antonio da Sangallo the Younger's oft‐overlooked cappella Cesi nave façade in Santa Maria della Pace not as an isolated design deviation but as part of a broader architectural and artistic conversation among major players in early sixteenth‐century Rome.
Alexis Culotta
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Heritage Science, 2023 This work proposes the virtual restoration of the Bodhidharma polychrome sculpture from the Lingyan Temple in China. Based on scientific analyses and simulation experiments, exterior colours and textures were virtually restored by combining 3D scanning ...
Yongdong Tong +3 more
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Understanding Material vs. Immaterial in Conceptual and Digital Art
Tahiti, 2021 In the history of twentieth-century art, we can identify two key moments when the notion of the immaterial became a focus of attention. The first, spanning the period from the mid-1960s to the mid-1970s, was the dematerialization of the art object in the
Rahma Khazam
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Black in Impressionism and Post‐Impressionism: Art, Color Vision, and Psychophysics
Color Research &Application, Volume 51, Issue 3, May/June 2026.Black has engendered controversy in 19th Century color theory and in Impressionist and Post‐Impresssionist painting. The neural mechanisms of blackness perception are being revealed through contemporary psychophysics. ABSTRACT From Paleolithic cave art to modern abstraction, artists have used black not merely as a neutral tone, but as a powerful ...
John S. Werner
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