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Art --- anno 1700-1799 --- France --- Rome --- italianisanten --- kunsteducatie --- oudheid --- academisme --- 18de eeuw --- Frankrijk --- italianisanten. --- kunsteducatie. --- oudheid. --- academisme. --- 18de eeuw. --- Frankrijk. --- Rome. --- Duchamp, Marcel.
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musea (Frankrijk) --- tekeningen --- academisme --- classicisme --- Carracci (familie) --- 17de eeuw --- 18de eeuw --- Italië --- Bologna --- musea (Frankrijk). --- tekeningen. --- museumcollecties. --- academisme. --- classicisme. --- Carracci (familie). --- 17de eeuw. --- 18de eeuw. --- Italië. --- Bologna. --- museumcollecties
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Lenepvue, Jules-Eugène --- Baudry, Paul --- Bouguereau, Adolphe William --- kunstonderwijs --- academisme --- geschiedenis --- Prijs van Rome --- Bouguereau, William --- Lenepveu, Jules-Eugène --- 19de eeuw --- kunstonderwijs. --- academisme. --- geschiedenis. --- Prijs van Rome. --- Baudry, Paul. --- Bouguereau, William. --- Lenepveu, Jules-Eugène. --- 19de eeuw.
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"This book is a lively, passionate defence of contemporary work in the humanities, and, beyond that, of the university system that makes such work possible. The book's stark accounts of academic labor, and its proposals for reform of the tenure system, are novel, controversial, and timely. Very few people understand what has happened to the humanities, and to higher education more generally, over the past 40 years. In this book, Michael Bérubé and Jennifer Ruth explain why it is worth paying attention to debates about such concepts as universalism and definitions of the human; more audaciously, they also explain why it is important that college professors should have the professional working conditions necessary for them to do their jobs. In a clear, compelling, and sometimes surprising narrative, Bérubé and Ruth show why the deprofessionalization of college teaching matters -- and what can be done to reverse it. "--
Human rights --- Higher education --- academisme --- United States --- EDUCATION / General. --- EDUCATION / Higher. --- EDUCATION / Organizations & Institutions. --- Education, Humanistic. --- Humanities --- Study and teaching (Higher). --- United States of America
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Art --- Journalism --- anno 1910-1919 --- anno 1900-1909 --- anno 1930-1939 --- anno 1940-1949 --- anno 1920-1929 --- Paris --- tijdschriften --- dadaïsme --- surrealisme --- abstracte kunst --- avant-garde --- academisme --- 1905 - 1940 --- 20ste eeuw --- Parijs --- abstracte, niet-figuratieve kunst --- tijdschriften. --- dadaïsme. --- surrealisme. --- abstracte kunst. --- avant-garde. --- academisme. --- 1905 - 1940. --- 20ste eeuw. --- Parijs.
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History --- art history --- Art --- art [fine art] --- anno 1900-1999 --- D. Kraaijpoel --- kunst --- academisme --- twintigste eeuw --- Nederland --- 7.038 --- Art [Modern ] --- 20th century --- moderne kunst. --- hedendaagse kunst. --- Greenberg, Clement. --- Dürer, Albrecht. --- 1945. --- 20ste eeuw. --- art [discipline]
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Art [French ] --- Art français --- Kunst [Franse ] --- Histoire de l'architecture --- Histoire de l'art --- Renaissance --- Art, French --- Académisme --- Décoration --- Histoire de la peinture --- Histoire de la sculpture --- France --- Art, French.
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Jean-Léon Gérôme (1824?1904) was an undisputed professional success during his lifetime. Crowds flocked to see his vividly rendered historical and Orientalist compositions, and thanks to the mass marketing of his work through mechanical reproduction, he reached audiences on an unprecedented scale. From the outset, however, his success met with critical hostility. Émile Zola, champion of Édouard Manet, dismissed Gérôme as a cynical manufacturer of anecdotal images for popular consumption?a critique repeatedly echoed by historians of modern art. In light of revisionist and postmodern trends over the past four decades, however, Gérôme's work is now being approached with unprecedented seriousness and refreshing creativity. The ten essays in this volume go far in challenging critical biases against the artist and suggesting new avenues of research. These papers indeed suggest that we are just beginning to learn how to "read" Gérôme's paintings in their full complexity. Reconsidering Gérôme was published to accompany the exhibition The Spectacular Art of Jean-Léon Gérôme, on view at the J. Paul Getty Museum from June 15 through September 12, 2010
Gérôme, Jean Léon --- Gérôme, Jean Léon, --- Gérôme, Jean Léon, --- History painting, French --- Orientalism in art --- Academic art --- Painting, French --- Peinture d'histoire française --- Orientalisme dans l'art --- Académisme --- Criticism and interpretation.
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On connaît davantage aujourd’hui les Salons de Paris des années 1850-1860 pour les tableaux qui y ont été refusés que pour ceux que l’on pouvait y voir. Ces peintures ont souvent été méprisées pour ce que l’on considérait comme de l’académisme et de la rigueur excessive. Pourtant, les œuvres qui furent alors rejetées correspondent aux critères de l’art d’aujourd’hui et sont maintenant considérées comme les précurseurs de l’âge moderne. Cet ouvrage tente d’imposer la face relativement moins connue de l’histoire de l’art du XIXe siècle. L’historien de l’art Norbert Wolf se penche sur l’histoire des Salons pour faire redécouvrir aux lecteurs l’art et l’excellence qui y régnaient, en Europe, en Grande-Bretagne, en Russie et aux États-Unis. Dans ce nouveau livre magnifique, illustré par des reproductions superbes des chefs-d’œuvre de Cabanel, Manet, Gérôme, Ingres, Bouguereau, Leighton, Whistler, Tissot, Alma-Tadema, Sargent, pour n’en citer que quelques-uns, l’auteur analyse le phénomène des Salons sous bien des angles, que ce soit l’essor de la bourgeoisie ou le rayonnement de Paris, alors capitale européenne de la culture. Il explore également les styles et les thèmes qui dominaient : la peinture d’histoire, les portraits d’intérieur et de société ; il signale l’essor de l’Orientalisme et le nationalisme qui s’empare des paysages. La lecture de cet ouvrage d’envergure, très documenté et passionnant, permettra à l’amateur d’art d’appréhender définitivement et positivement la peinture des Salons et de comprendre la raison pour laquelle ces œuvres furent autrefois si vénérées par le grand public.
painting [image-making] --- Painting --- schilderkunst --- anno 1800-1899 --- Art --- Painting, European --- Painting, American --- Peinture européenne --- Peinture américaine --- Exhibitions --- History --- Expositions --- Histoire --- Salons --- academisme --- Wereldtentoonstellingen --- 19de eeuw --- Histoire de la peinture --- Exposition universelle --- Iconographie --- Painting, Modern --- Art, Modern --- 19e siècle --- France --- 19th century --- Art exhibitions --- Peinture --- Salons artistiques --- Peinture européenne --- Peinture américaine --- Painting, Modern - 19th century --- Art, Modern - 19th century - Exhibitions --- Salons (Parijs). --- academisme. --- Wereldtentoonstellingen. --- 19de eeuw. --- Salons (Parijs)
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"Présentation de deux groupes artistiques belges de l'entre-deux-guerres, de leurs divergences et de leurs points de convergence. Au nord du pays, Laethem est le berceau des symbolistes et des expressionnistes flamands. Au sud, le groupe hennuyer Nervia comprend les peintres Anto Carte ou Louis Buisseret. Exhibition: Museé d'Ixelles, Ixelles, France (22.10.2015-17.01.2016)."
Painting --- Art styles --- Expressionist [style] --- artists' colonies --- anno 1910-1919 --- anno 1900-1909 --- anno 1920-1929 --- anno 1930-1939 --- Sint-Martens-Latem --- Wallonia --- Sint-Martens-Latem (Group of artists) --- Artists --- Art, Belgian --- Sint-Martens-Latem (Groupe d'artistes) --- Artistes --- Art belge --- Exhibitions. --- History --- Exhibitions --- Expositions --- Histoire --- Nervia (1928-1936) --- interbellum --- academisme --- Eeckman, Léon --- 20ste eeuw --- België --- Henegouwen (provincie) --- 20th century --- Belgium --- Groupe Nervia --- Nervia (1928-1936). --- interbellum. --- academisme. --- Eeckman, Léon. --- 20ste eeuw. --- België. --- Sint-Martens-Latem. --- Henegouwen (provincie). --- Latemse school
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