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Die Arabeske ist nicht nur eine der wichtigsten Positionen des klassischen Ballettvokabulars, mit ihr lässt sich auch das Ornamentale des Balletts im frühen 19. Jahrhundert beschreiben. Aus größtenteils bisher unveröffentlichten ikonografischen Quellen entwickelt Eike Wittrock eine Ästhetik des Balletts, die sowohl die Einzelfigur Arabeske wie auch die Gruppenformationen des corps de ballet erfasst. Lithografien, choreografische Notationen, Abbildungen in Traktaten von Carlo Blasis und Léopold Adice, Musterbücher und Buchverzierungen werden dabei als historiografische Medien von Tanz verstanden, die die fantastische Bildlichkeit von Balletten wie »Giselle«, »Ondine« und »Thea, oder: Die Blumenfee« in der Aufzeichnung weiterführen. »Anschaulich unterstützt von gut gewählten Abbildungen aus der Tanzgeschichte entsteht ein überzeugendes Bild eines Aspektes der Tanzpraxis.« Peter Dahms, Tanzinfo Berlin, 11 (2017) Besprochen in: Up To Dance, 1 (2018) tanz, 2 (2018), Arnd Wesemann
Tanzgeschichte; Ornament; Visual Culture; Ballett; Arabeske; Tanz; Kunstgeschichte des 19. Jahrhunderts; Europäische Kunst; Kulturwissenschaft; Dance History; Ballet; Arabesque; Dance; Art History of the 19th Century; European Art; Cultural Studies --- Arabesque. --- Art History of the 19th Century. --- Ballet. --- Cultural Studies. --- Dance. --- European Art. --- Visual Culture.
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Art, Chinese --- Art, European --- Chinoiserie (Art) --- S17/1800 --- S17/2112 --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Chinese art --- Anglo-Chinoise (Art) --- European influences --- Chinese influences --- History --- China: Art and archaeology--Influence on Foreign art (incl. Chinoiserie) --- China: Art and archaeology--Musea and exhibitions: Germany --- Influence --- China --- Europe --- Relations --- Applied arts. Arts and crafts --- Graphic arts --- prints [visual works] --- decorative arts [discipline] --- Chinoiserie --- anno 1600-1699 --- anno 1800-1999 --- anno 1700-1799
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The Primacy of the Image in Northern Art 1400-1700: Essays in Honor of Larry Silver is an anthology of 42 essays written by distinguished scholars on current research and methodology in the art history of Northern Europe of the late medieval and early modern periods. Written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania, the topics are inspired by Professor Silver’s renowned scholarship in these areas: Early Netherlandish Painting and Prints; Sixteenth-Century Netherlandish Painting; Manuscripts, Patrons, and Printed Books; Dürer and the Power of Pictures; Prints and Printmaking; and Seventeenth-Century Painting. Studies of specific artists include Hans Memling, Albrecht Dürer, Hans Baldung Grien, Hieronymus Bosch, Pieter Bruegel, Hendrick Goltzius, and Rembrandt.
Art --- Festschriften --- Silver, Larry --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Europe: North --- Art, Northern European --- Bildliche Darstellung --- Kunst --- Bildnismalerei --- Themes, motives --- Geschichte 1400-1500 --- Geschichte 1600-1700 --- Geschichte 1500-1600 --- Geschichte 1400-1700 --- Mitteleuropa --- Westeuropa --- Prints, Dutch --- Prints, Renaissance --- Dutch prints --- Northern European art --- Dürer, Albrecht, --- Silver, Larry, --- Durer, Albert, --- Di︠u︡rer, Alʹbrekht, --- Durero, Alberto, --- Duerer, Albrecht, --- Criticism and interpretation. --- Prints --- Dürer, Albrecht --- Durer, Albert --- Kunst. --- Themes, motives. --- Bildnismalerei. --- Bildliche Darstellung. --- Mitteleuropa. --- Westeuropa. --- Dürer, Albrecht - 1471-1528 --- Silver, Larry - 1947 --- -Art, Northern European --- Dürer, Albrecht, 1471-1528
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Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region. Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest. Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.
Art, Modern --- Art, European. --- Socialism --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Art --- Social movements in art --- Social practice (Art) --- Communism and art --- Socialism and art --- Interventionist art --- Social cooperation (Art) --- Socially engaged art --- Art and society --- Interactive art --- Art and socialism --- Art and communism --- 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 --- Political aspects --- Social movements in art. --- Art, Primitive
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"A landmark exploration of the engaging network of relationships among genre painters of the Dutch Golden Age The genre painting of the Dutch Golden Age between 1650 and 1675 ranks among the highest pinnacles of Western European art. The virtuosity of these works, as this book demonstrates, was achieved in part thanks to a vibrant artistic rivalry among numerous first-rate genre painters working in different cities across the Dutch Republic. They drew inspiration from each other's painting, and then tried to surpass each other in technical prowess and aesthetic appeal. The Delft master Johannes Vermeer (1632-1675) is now the most renowned of these painters of everyday life. Though he is frequently portrayed as an enigmatic figure who worked largely in isolation, the essays here reveal that Vermeer's subjects, compositions, and figure types in fact owe much to works by artists from other Dutch cities. Enlivened with 180 superb illustrations, Vermeer and the Masters of Genre Painting highlights the relationships - comparative and competitive - among Vermeer and his contemporaries, including Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriel Metsu, and Frans van Mieris"--
ART / History / Baroque & Rococo. --- ART / European. --- ART / Collections, Catalogs, Exhibitions / Group Shows. --- Genre painting, Dutch --- Painters --- Vermeer, Johannes, --- Peinture de genre néerlandaise --- Professional relationships --- History --- Criticism and interpretation. --- Painting --- genre painters --- genre [visual works] --- Vermeer, Johannes --- anno 1600-1699 --- Netherlands --- Painting, Dutch --- Genre painting --- Peinture de genre hollandaise --- Peinture hollandaise --- Peinture de genre --- Exhibitions --- Expositions --- Exhibitions. --- Art --- Art, European --- 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 --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Artists --- Criticism and interpretation --- Baroque and Rococo --- Collections, Catalogs, Exhibitions --- Group Shows --- Art, Primitive --- genre pictures
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Exhibitions --- Painting, Dutch --- Painters --- Peinture hollandaise --- Peintres --- Biography --- Biographies --- Bosch, Hieronymus, --- Bosch, Jeroen --- Venice --- Art, European --- 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 --- Art, Modern --- European art --- Nouveaux réalistes (Group of artists) --- Zaj (Group of artists) --- Bosch, Hieronymus --- Bosch, Jerome --- de Bosch, Jeronimo --- Bosch, Jheronimus --- Aeken, Hieronymus van, --- Aken, Hieronymus van, --- Aken, Jeroen Anthoniszoon van, --- Aken, Jheronymus van, --- Aquen, Jheronimus, --- Bos, Hieronymus van, --- Bos, Ierōnymos, --- Bos, Jeronimus, --- Bosch, Hieronimus, --- Bosch, Hieronymous, --- Bosch, Hieronymus van Aken, --- Bosch, Jeroen, --- Bosch, Jérôme, --- Bosch, Jerónimo, --- Bosch, Jheronimus, --- Bosch, Jheronymus, --- Bosco, Hieronymus, --- Boskh, Ieronim, --- Bosque, Jerónimo, --- El Bosco, --- van Aken, Jheronimus --- Aeken, Hieronymus van --- Aken, Hieronymus van --- Aken, Jeroen Anthoniszoon van --- Aken, Jheronymus van --- Aquen, Jheronimus --- Bos, Hieronymus van --- Bos, Ierōnymos --- Bos, Jeronimus --- Bosch, Hieronimus --- Bosch, Hieronymous --- Bosch, Jérôme --- Bosch, Jerónimo --- Bosch, Jheronymus --- Bosco, Hieronymus --- Boskh, Ieronim --- Bosque, Jerónimo --- El Bosco --- Art, Primitive
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