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Art --- Tate Gallery [London] --- Tate Gallery (Londen) --- Tate Gallery (Londen). --- Pinacoteca Ambrosiana (Milaan). --- Milaan.
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Venus en Adonis --- Venus --- Adonis --- Haarlem, van, Cornelis Cornelisz. --- Musée des beaux-arts [Caen] --- Musée des Beaux-Arts de Caen --- mythologische figuren --- Cornelisz. van Haarlem, Cornelis --- Venus (godin) --- Adonis (god) --- Adonis [Mythological character] --- Venus [Mythological character] --- Musée des Beaux-Arts de Caen. --- mythologische figuren. --- Cornelisz. van Haarlem, Cornelis. --- Venus (godin). --- Adonis (god).
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A partir de 1851, les grandes capitales vont vivre au rythme des expositions universelles, à la fois lieux de confrontation pacifique et internationale mêlant commerce industrie et beaux-arts, véritables laboratoires d'architectures et d'ornementations. Le Crystal Palace, construit par Joseph Paxton, devient un monument symbolique de la mise en œuvre du modernisme,. A l'occasion de la première Exposition Universelle à Paris en 1855, l'entreprise soulève l'ardent désir d'un bâtiment monumental conçu pour durer, le Palais de l'Industrie, situé en haut des Champs-Elysées. La riche collection de dessins d'architecture du musée d'Orsay et le Fonds Eiffel permettent d'illustrer l'imagination des architectes, la diversité des bâtiments et de ressuciter d'extraordinaires réalisations aujourd'hui disparues.
Multidisciplinary organizations --- Architecture --- anno 1800-1899 --- Paris --- wereldtentoonstellingen 1855-1937 (Parijs) --- architectuur --- Parijs --- Exposition universelle --- Utopie architecturale --- Pavillon d'exposition --- Paris (France) --- Bâtiment d'exposition --- wereldtentoonstellingen 1855-1937 (Parijs). --- architectuur. --- Parijs.
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Morris, William --- Burne-Jones, Edward Coley --- Morris, William, --- Burne-Jones, Edward Coley, --- Criticism and interpretation. --- Friends and associates. --- Morris, William. --- Burne-Jones, Edward Coley. --- Frankrijk.
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The eighteenth century was an age when not only the aristocracy but a burgeoning middle class could enjoy a remarkable flowering of the arts. But it was a man's world, any woman who wished to succeed as an artist had to overcome numerous obstacles. In a society in which women were required to marry, reproduce, and conform to rigid social conventions a professional artist risked becoming an object of gossip and hostility. Nevertheless, for a woman who had charm and good looks, was ambitious, and allied talent with hard work, success was attainable. This book examines the careers and working lives of celebrated artists like Angelica Kauffman and Elisabeth Vigée Le Brun but also of those who are now forgotten. As well as assessing the work itself, from history and genre painting to portraits, it considers artists' studios, the functioning of the print market, how art was sold, the role of patrons and the flourishing world of the lady amateur. It is enriched by up to 55 illustrations in glorious colour.
sex role --- Art --- anno 1700-1799 --- vrouwelijke kunstenaars --- sociale geschiedenis --- kunsthandel --- 18de eeuw --- Femme, thème --- Femme artiste --- 18e siècle --- Vigée-Lebrun, Louise-Elisabeth, --- Kauffmann, Angelica, --- Vigée-Lebrun, Louise-Elisabeth, 1755-1842 --- Kauffmann, Angelica, 1741-1807 --- vrouwelijke kunstenaars. --- sociale geschiedenis. --- kunsthandel. --- 18de eeuw. --- vrouwelijke kunstenaar
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A revelatory examination of Roger Fry's fascinating but relatively little-known writings on his first love, Italian art. Drawing on articles, lectures and a wealth of new documentary materials letters, diaries and notebooks it shows how fresh and readable his writings are, and how pioneering his approach remains. Roger Fry (1866-1934) is best known as a champion of Post-Impressionism and a pioneer of Modernist art criticism. But his first love was early Italian painting, on which he became a recognized authority, publishing a monograph on Giovanni Bellini in 1899. Even after the Post-Impressionist exhibitions in 1910 and 1912 and the foundation of the Omega Workshops, Fry continued to write and lecture on Italian art right up until his death. He looked at modernism through Quattrocento eyes rather than the other way around, as is often wrongly assumed. It is impossible not to be struck by how fresh and immediately readable his writings are, how pioneering in some ways his approach remains. His work on Italian art modifies the received view of him as a pure formalist. Apart from a famous article on Giotto which Fry republished in 'Vision and Design' (1920), the writings on Italian art are relatively little known, and a selection of the best of them is republished here, thus introducing an important aspect of Fry's many-sided work to a new audience.
kunstkritiek --- italianisanten --- briefwisseling --- post-impressionisme --- The Burlington Magazine for Connoisseurs (1903-) --- Fry, Roger --- Italië --- Art, Italian. --- Art criticism. --- Art italien. --- Critique d'art. --- art criticism. --- Art --- Critique et interprétation --- Fry, Roger, --- Fry, Roger Eliot, --- Criticism and interpretation. --- kunstkritiek. --- italianisanten. --- briefwisseling. --- post-impressionisme. --- The Burlington Magazine for Connoisseurs (1903-). --- Fry, Roger. --- Italië. --- tentoonstelling Spa (1864). --- Salon van Spa (1864). --- 19de eeuw.
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orientalisme. --- 18de eeuw. --- 19de eeuw. --- 20ste eeuw. --- Italië.
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kleding, klederdracht. --- kostuumgeschiedenis. --- Victoriaans tijdperk. --- Victoria (koningin van Groot-Brittannië). --- 1837 - 1877. --- 19de eeuw.
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