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Art, Classical --- Sculpture, Classical --- Imitation in art --- Copy art --- Copy art
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Art, Classical --- Art, Classical --- Art antique --- Art antique --- Collectors and collecting --- History --- Collectors and collecting --- History --- Collectionneurs et collections --- Histoire --- Collectionneurs et collections --- Histoire --- Jacobsen, Carl Christian Hilmann, --- Helbig, Wolfgang, --- Ny Carlsberg glyptotek
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Art, Greek. --- Art, Classical. --- Excavations (Archaeology) --- Art grec --- Art antique --- Fouilles (Archéologie) --- Festschrift - Libri Amicorum --- Fouilles (Archéologie)
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Art, Classical --- Art restorers --- Classicists --- Philosophy, Modern --- Study and teaching --- History --- Requeno y Vives, Vicente, --- Philosophy. --- Societas Jesu
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Art [Classical ] --- Art classique --- Classical art --- Klassieke kunst --- Kunst [Klassieke ] --- Seksualiteit in de kunst --- Sexe dans l'art --- Vrouwen in de kunst --- Women in art --- Sex in art --- Gender identity in art --- Art, Classical --- Femmes dans l'art --- Sexualité dans l'art --- Identité sexuelle dans l'art --- Art antique --- Crisis management --- Public relations --- Social media. --- Communication, International --- Management --- ro: ed. by --- Sex in the arts --- Sexuality in art --- Classical antiquities --- Art, Classical. --- Gender identity in art. --- Sex in art. --- Women in art.
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The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought.While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.
Memory in art. --- Metaphor in art. --- Art, Renaissance --- Art, Classical --- Art criticism --- Renaissance art --- Classical art --- Classical antiquities --- Influence. --- History --- Warburg, Aby,
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Clothing and dress --- Art, Classical. --- Civilization, Classical. --- Costume --- Vêtements --- Art antique --- Civilisation ancienne --- Congresses --- History --- Congrès --- Histoire --- Art, Classical --- Civilization, Classical --- Costume antiqu --- Nudity --- Anthropologie --- Aspect social --- Psychological aspects --- Social aspects --- Rome --- Greece --- Social life and customs --- Vêtements --- Congrès --- Social aspects. --- Psychological aspects. --- Clothing and dress - Greece - Congresses --- Clothing and dress - Rome - Congresses --- Clothing and dress - History - Medieval, 500-1500 - Congresses
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"The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought. While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture."--Publisher's Web site.
philosophy of art --- Philosophy and psychology of culture --- Warburg, Aby --- Art criticism --- Art, Classical --- Art, Renaissance --- Metaphor in art. --- Memory in art. --- History --- Influence. --- Warburg, Aby, --- Memory in art --- Metaphor in art --- Renaissance art --- Classical art --- Classical antiquities --- Influence --- Nachleben
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Idéal politique et esthétique, l'Antiquité était glorifiée dans toutes les cours d'Europe depuis la Renaissance, où les vestiges grecs et romains étaient collectionnés avec passion par les princes et les puissants. Mais, avec le règne de Louis XIV, cette admiration prit une tout autre dimension. Pour imposer aux yeux de tous l'avènement de la monarchie absolue et la puissance de la France, le Roi-Soleil conçut son palais comme une nouvelle Rome dédiée au culte d'Apollon et comme un sanctuaire pour sa prestigieuse collection de statues, bustes, vases, camées et médailles, jamais monarque n'avait acquis autant d'antiques et commandé autant de copies, fournissant une inépuisable source d'inspiration aux artistes de son temps. Architecture, sculpture, peinture, arts décoratifs, les décors versaillais ne cessèrent de puiser, même après le règne de Louis XIV, dans la mythologie et l'histoire antiques. Célébrant le pouvoir, l'ordre et la gloire, la présence de l'antique à Versailles consacre une véritable esthétique royale. Ce catalogue a été réalisé dans le cadre de l'exposition "Versailles et l'antique", fruit d'une collaboration exceptionnelle entre le château de Versailles et le musée du Louvre."--P. [4] of cover.
Arts, French --- Classical antiquities --- Arts français --- Antiquités gréco-romaines --- Classical influences --- Influence --- Influence ancienne --- Louis --- Exhibitions --- Château de Versailles (Versailles, France) --- Art --- Art, Classical --- Classicism in art --- Mythology, Classical, in art --- Political aspects --- History --- Collectors and collecting --- Art patronage --- Château de Versailles (Versailles, France) --- Arts français --- Antiquités gréco-romaines --- Exhibitions. --- Art - Political aspects - France - History - 16th century - Exhibitions --- Art - Political aspects - France - History - 17th century - Exhibitions --- Art - Collectors and collecting - France - Versailles - Exhibitions --- Classical antiquities - Influence - Exhibitions --- Art, Classical - Influence - Exhibitions --- Classicism in art - France - Versailles - Exhibitions --- Mythology, Classical, in art - Exhibitions --- Louis - XIV, - King of France, - 1638-1715 - Art patronage - Exhibitions --- Louis - XIV, - King of France, - 1638-1715
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Linear perspective is a science that represents objects in space upon a plane, projecting them from a point of view. This concept was known in classical antiquity. In this book, Rocco Sinisgalli investigates theories of linear perspective in the classical era. Departing from the received understanding of perspective in the ancient world, he argues that ancient theories of perspective were primarily based on the study of objects in mirrors, rather than the study of optics and the workings of the human eye. In support of this argument, Sinisgalli analyzes, and offers new insights into, some of the key classical texts on this topic, including Euclid's De speculis, Lucretius' De rerum natura, Vitruvius' De architectura and Ptolemy's De opticis. Key concepts throughout the book are clarified and enhanced by detailed illustrations.
Perspective --- Visual perception --- Art, Ancient --- Art, Classical --- Perception visuelle --- Art antique --- History --- Histoire --- Arts and Humanities --- Optics, Psychological --- Vision --- Perception --- Visual discrimination --- Architectural perspective --- Linear perspective --- Mechanical perspective --- Optics --- Space (Art) --- Space perception --- Projection --- Proportion (Art) --- Shades and shadows --- Psychological aspects
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