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Aesthetics of art --- Art --- -Art --- -Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Addresses, essays, lectures --- Philosophy --- -Addresses, essays, lectures --- Philosophy. --- Art, Occidental --- Addresses, essays, lectures. --- Beautiful, The --- Beauty --- Art and philosophy --- Analysis, interpretation, appreciation --- Art, Primitive
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Aesthetics of art --- Art, Renaissance --- Art --- Composition (Art) --- Apelles --- Art de la Renaissance --- Technique --- 7.01 --- -Art, Renaissance --- Proportion (Art) --- Renaissance art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Composition --- Apelle --- Renaissance --- Composition (Art). --- Technique. --- Renaissance. --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Apelles. --- 730.6 --- 735.4 --- Art, Renaissance.
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Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.
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shadows
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National Gallery [London]
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Shades and shadows in art
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Exhibitions
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Kunst
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schaduwen
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National Gallery [Londen]
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CDL
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7.03
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Visual perception
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Paintings.
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742.5
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7.017.9
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Renaissance --- Art --- #A9307H --- Art, Italian. --- Art, Renaissance
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Renaissance --- Art --- Symbolism in art --- Symbolism in art. --- Renaissance. --- Art, Renaissance --- Allegory (Art) --- Signs and symbols in art --- Renaissance art
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'We cannot write the history of art', says Professor Gombrich in the Preface to this volume, 'without taking account of the changing functions assigned to the visual image in different societies and different cultures . . . an image intended to reveal a higher reality of religion or philosophy will assume a different form from one that is prized for its imitation of appearances.'While this latter function of reflecting the visible world formed the subject of the author's well-known book on Art and Illusion, the studies here assembled deal with 'Symbolic Images' created by masters such as Botticelli, Mantegna, Giulio Romano and Nicolas Poussin. The papers offering fresh interpretations of mythological, astrological, allegorical and theological themes in Renaissance art previously published in learned journals have been revised and placed into a wider context by the addition of a new methodological Introduction on Aims and Limits of Iconology, a hitherto unpublished lecture on Raphael's Stanza della Segnatura and the Nature of its Symbolism and a much amplified version of the essay Icones Symbolicae. Here Professor Gombrich surveys the evolution of this type of art in ancient and medieval times, studies the philosophical implications of visual symbolism in the Renaissance and uncovers the links of these potent ideas with Freud's and Jung's theories of symbolism. Thus, while this volume complements the essays on Renaissance patronage and taste collected in Norm and Form, it also concerns in the author's words - 'traditions which still affect the way we talk and think about the art of our own time'.Altogether more than one third of the material in this volume has not appeared in print before.
Iconography --- anno 1500-1599 --- Art, Renaissance --- Symbolism in art --- 7.01 --- 7.045 --- 7.034 --- Allegory (Art) --- Signs and symbols in art --- Art --- Renaissance art --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Iconografie: allegorieen; symbolen; dodendansen; emblemata --- Kunst van de renaissance; barok; rococo; koloniale stijl --- Renaissance --- Symbolism in art. --- Renaissance. --- 7.034 Kunst van de renaissance; barok; rococo; koloniale stijl --- 7.045 Iconografie: allegorieen; symbolen; dodendansen; emblemata --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Art de la renaissance
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History of civilization --- Aesthetics --- Iconography --- kunsttheorie --- kunstfilosofie --- kunstpsychologie --- 7.01 --- kunst algemeen, filosofie van de kunst en vormgeving
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Aesthetics of art --- Kunstgeschiedenis --- Studies over kunsttheorie -folosofie -psychologie en esthetica --- Art --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Philosophy --- Analysis, interpretation, appreciation --- Art, Primitive --- CDL --- 7.01
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