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Rome is 'the city of seven hills'. This book examines the need for the 'seven hills' cliché, its origins, development, impact and borrowing. It explores how the cliché relates to Rome's real volcanic terrain and how it is fundamental to how we define this. Its chronological remit is capacious: Varro, Virgil and Claudian at one end, on, through the work of Renaissance antiquarians, to embrace frescoes and nineteenth-century engravings. These artists and authors celebrated the hills and the views from these hills, in an attempt to capture Rome holistically. By studying their efforts, this book confronts the problems of encapsulating Rome and 'cityness' more broadly and indeed the artificiality of any representation, whether a painting, poem or map. In this sense, it is not a history of the city at any one moment in time, but a history of how the city has been, and has to be, perceived.
cityscapes [representations] --- topography [image-making] --- Rome --- Rome (Italy) --- Description and travel. --- History. --- Arts and Humanities --- History --- Description
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Painting --- Holbein, Hans [Younger] --- Dürer, Albrecht --- National Gallery [London] --- Germany --- 75 <43> --- Schilderkunst--Duitsland voor 1945 en na 1989 --- Exhibitions --- 75 <43> Schilderkunst--Duitsland voor 1945 en na 1989 --- Duitse school
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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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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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How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future.0What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum.0A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.
Art, Classical --- Sculpture, Classical --- Classical antiquities --- Art and society --- Appreciation --- History. --- Sculpture --- Antique, the --- Aesthetics of art --- sculpture [visual works] --- Ancient history --- aesthetics --- Art --- Classical influences --- History --- antieke beeldhouwkunst
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The untold story of how paper revolutionized art making during the Renaissance, exploring how it shaped broader concepts of authorship, memory, and the transmission of ideas over the course of three centuries. In the late medieval and Renaissance period, paper transformed society-not only through its role in the invention of print but also in the way it influenced artistic production. The Art of Paper tells the history of this medium in the context of the artist's workshop from the thirteenth century, when it was imported to Europe from Africa, to the sixteenth century, when European paper was exported to the colonies of New Spain. In this pathbreaking work, Caroline Fowler approaches the topic culturally rather than technically, deftly exploring the way paper shaped concepts of authorship, preservation, and the transmission of ideas during this period. This book both tells a transcultural history of paper from the Cairo Genizah to the Mesoamerican manuscript and examines how paper became "Europeanized" through the various mechanisms of the watermark, colonization, and the philosophy of John Locke. Ultimately, Fowler demonstrates how paper-as refuse and rags transformed into white surface-informed the works for which it was used, as well as artists' thinking more broadly, across the early modern world.
Book history --- Art --- paper [fiber product] --- anno 1200-1499 --- anno 1500-1599 --- Paper --- Papermaking --- Papier --- Papeterie --- History. --- Histoire. --- 676 <09> --- 676 <09> Pulp, paper and board industry--Geschiedenis van ... --- Pulp, paper and board industry--Geschiedenis van ...
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Soissons, Kathedraal --- adoration of the shepherds --- Rubens, Peter Paul
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frames [protective furnishings] --- Soissons, Kathedraal --- Rubens, Peter Paul
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technical art history --- Soissons, Kathedraal --- Rubens, Peter Paul
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