Results 31 to 40 of about 57,588 (202)
The Painterly Materiality of Clouds in Antony and Cleopatra and Hamlet
Renaissance Studies, EarlyView.Abstract This article examines the cloud‐gazing scenes in Antony and Cleopatra and Hamlet through the lens of early modern artistic theory and material practices, particularly the art of limning. Building upon existing philosophical and poetic interpretations of Shakespearean clouds as metaphors for ephemerality and memory, the essay argues that the ...
Anne‐Valérie Dulac
wiley +1 more source
Race et histoire dans les sociétés occidentales : (XVe-XVIIIe siècle)
Cromohs: Cyber Review of Modern HistoriographyReview of Jean-Frédéric Schaub and Silvia Sebastiani, Race et histoire dans les sociétés occidentales (XVe-XVIIIe siècle), Paris: Albin Michel, 2021, reviewed by Girolamo ...
Girolamo Imbruglia
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Disciples, fils, travailleurs. Les apprentis peintres et sculpteurs italiens au XVe et XVIe siècle
Mélanges de l'École française de Rome. Italie et Méditerranée, 2016 L’apprenti peintre, orfevre ou sculpteur etait souvent connu par le patronyme renvoyant a son maitre. Giorgio Vasari le souligne souvent dans ses Vies d’artistes. De nombreux cas montrent de surcroit que le disciple etait considere comme lie par une quasi-adoption a son maitre.
openaire +2 more sources
Renaissance Studies, EarlyView.Abstract Pedro de Ayala served as a diplomat for King Ferdinand II of Aragon and Queen Isabella I of Castile at the courts of Henry VII, King of England, and James IV, King of Scots. In July 1498, he wrote a letter, partly in cipher, to report to his king and queen on such matters as Spain's interests in international diplomacy; the characters and ...
Adrian William Jaime +2 more
wiley +1 more source
Los códices de la Historia Roderici y sus relaciones
E-Spania, 2010 L’Historia Roderici ou Gesta Roderici Campidocti est l’une des principales sources dont nous disposons pour connaître la vie de Rodrigue Diaz de Vivar.
Irene RUIZ ALBI
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La sculpture du Val de Loire au XVe siècle : une école introuvable ? [PDF]
, 2003 Entre 1420 et 1530 approximativement la Loire joua un rôle essentiel pour la diffusion des formes et des modèles artistiques comme pour la circulation des artistes.
Guillouet, Jean-Marie
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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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Les statuts du chapitre cathédral de Saint-Jean de Lyon. Première exploration et inventaire (XIIe-XVe siècles) [PDF]
, 1995 International audienceRépertoire des statuts du chapitre cathédral de Lyon (XIIe - XVe siècle) : liste des manuscrits et éditions ...
Collomb, Pascal
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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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Gender &History, Volume 38, Issue 1, Page 21-37, March 2026.Abstract The ‘widow’ is a gendered, socially contingent category. Women who experienced spousal bereavement in the early middle ages faced various socio‐economic and legal ramifications; the ‘widow’ was further a rhetorical figure with a defined emotional register. The widower is, by contrast, an anachronistic category.
Ingrid Rembold
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