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In der italienischen Kunstproduktion und Kunsttheorie der Renaissance bezieht sich der Terminus chiaroscuro in erster Linie auf die Artikulation plastischer Werte, auf das Formulieren eines rilievo. Rilievo meint hier ein innovatives Gestaltungsprinzip, das den Eigenwert der mittelalterlichen Buntfarbe durch den Darstellungswert unbunter Farbtöne ersetzt. Malerei und Graphik tendierten im nordalpinen Raum hingegen dazu, mittels des Helldunkel die Oberflächenbeschaffenheit von Materialien zu evozieren. Aus dieser komparativen Perspektive erfasst der Band das Helldunkel als ästhetisches Prinzip, das als zentrale Signatur der gesamteuropäischen Kunstgeschichte zwischen 1300 und 1600 zu verstehen ist. In the Italian theory and practice of art of the Renaissance, the term chiaroscuro primarily refers to the articulation of sculptural qualities, i.e. depth or rilievo. In this context, rilievo refers to an innovative design principle, which replaces the inherent value of medieval chromatic shading with achromatic shades. By contrast, paintings and graphic art in the northern Alpine region tended to create the depth in the surface of objects by using light-dark effects. Based on this comparison, the book deals with chiaroscuro as an aesthetic principle, which should be understood as the key signature of European art history as a whole between 1300 and 1600.
Chiaroscuro. --- Art, Italian. --- Aesthetics, European. --- Art, Renaissance --- Art, European
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"Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco - seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyzes how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public"-- "Originally published in Dutch and translated to Spanish for the fourth centenary celebration of the death of El Greco in 2014, this book is a comprehensive study of the rediscovery of El Greco - seen as one of the most important events of its kind in art history. The Nationalization of Culture versus the Rise of Modern Art analyzes how changes in artistic taste in the second half of the nineteenth century caused a profound revision of the place of El Greco in the artistic canon. As a result, El Greco was transformed from an extravagant outsider and a secondary painter into the founder of the Spanish School and one of the principle predecessors of modern art, increasingly related to that of the Impressionists - due primarily to the German critic Julius Meier-Graefe's influential History of Modern Art (1914). This shift in artistic preference has been attributed to the rise of modern art but Eric Storm, a cultural historian, shows that in the case of El Greco nationalist motives were even more important. This study examines the work of painters, art critics, writers, scholars and philosophers from France, Germany and Spain, and the role of exhibitions, auctions, monuments and commemorations. Paintings and associated anecdotes are discussed, and historical debates such as El Greco's supposed astigmatism are addressed in a highly readable and engaging style. This book will be of interest to both specialists and the interested art public"--
Aesthetics, European --- Nationalism and art --- History --- Greco, --- Criticism and interpretation.
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"L'Europe a inventé l'idée du Beau, et posé son équivalence avec celles du Bien et du Vrai, distinguant ces trois entités pour mieux les unir, ce que ne font pas toutes les civilisations. Mais tout en défendant cette triade, l'Europe n'a cessé de la mettre en question, de Dante à Simone Weil, en passant par Gœthe, Nietzsche ou Dostoïevski. Si les œuvres d'un Richard Wagner ou d'un Louis-Ferdinand Céline sont belles, n'est-ce pas en effet de la beauté du diable ? Faut-il renoncer à cette alliance du Beau, du Vrai et du Bien, qui fonde pourtant notre identité ?"--Page 4 of cover.
Aesthetics, European --- Beau (esthétique) --- Art européen --- Dans la littérature. --- Thèmes, motifs. --- Aesthetics, European. --- Esthétique européenne.
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Aesthetics, European --- Art and philosophy --- Art and science --- Knowledge, Theory of --- History
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Aesthetics, European. --- Courts and courtiers --- Festivals --- Pageants --- Renaissance. --- Spectacular, The. --- History. --- Europe --- Kings and rulers.
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Aesthetics, Comparative --- Aesthetics, European --- Aesthetics, Japanese --- Esthétique comparative --- Esthétique européenne --- Esthétique japonaise
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Als Maler, aber auch als künstlerischem Rollenmodell wurde Raffael im 19. Jahrhundert eine einzigartige Stellung zugesprochen. Vorbereitet durch eine lange, schon im 16. Jahrhundert einsetzende Rezeptionsgeschichte, stand die Verehrung seines Werkes wie seiner Person um die Wende zum 19. Jahrhundert auf einem Höhepunkt. Der Raffael-Kult erfasste Kunstkritik und Kunstgeschichte ebenso wie Literatur und Musikgeschichte. Raffael wurde zum Paradigma: Auf ihn wurden nicht nur kunsttheoretische, sondern auch religiöse und gesellschaftliche Vorstellungen projiziert, welche die ideale Stellung des Künstlers und Menschen in seiner Zeit benannten. Die Raffael-Rezeption steht im 19. Jahrhundert unter einer Spannung, die sich aus dem Gegen- und Miteinander der Aktualität eines künstlerischen Œuvres aus dem 16. Jahrhundert und dessen Historisierung ergibt. Sie umfasst sowohl die Fortschreibung bzw. neue Entwürfe von Künstlerlegenden als auch die Entwicklung historisch-wissenschaftlicher Methoden zu Biographie und Kunstgeschichte. Das auf den Vorträgen einer trilateralen Konferenz in der Villa Vigoni im Dezember 2007 basierende Buch bildet den zweiten Band der Reihe Klassizistisch-romantische Kunst(t)räume und schließt unmittelbar an Fragestellungen an, die im ersten Band untersucht wurden.
Art criticism --- Aesthetics, European --- History --- Raphael, --- Criticism and interpretation. --- Aesthetics. --- Art Criticism. --- Raphael.
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New Paths, the seventh volume in the Writings of the Orpheus Institute, is a result of the third International Orpheus Academy for Music Theory. Five renowned scholars discuss a variety of topics related to romanticism, focusing especially on the years 1800-1840. In a much-needed historical and critical overview of the concept of organicism, John Neubauer ranges from its origins in Enlightenment biology to its aftermath in postmodernism. Janet Schmalfeldt shows that Beethoven's op.47 not only should be called the Bridgetower rather than the Kreutzer Sonata, but also that this makes a difference as to its meaning. Extreme contrasts between emotional and mechanical types of music in late Beethoven are explained by Scott Burnham as stagings of the limits of human subjectivity. Jim Samson discusses Chopin's little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens' case study of Franz Lachner's Heine songs sheds new light on radical experimentation by a so-called epigone in the period between Schubert and Schumann's miracle song year.
Aesthetics, European --- Music theory --- Music --- Musical theory --- Theory of music --- History --- History and criticism. --- Theory --- History and criticism
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Schweighauser argues that deception in and through early American art constitutes a comment on eighteenth-century debates concerning the nature and function of art as much as it responds to shifts in social and political organization.
Aesthetics, European. --- Aesthetics, American. --- Deception in literature. --- Aesthetics in literature. --- American fiction --- American aesthetics --- European aesthetics --- History and criticism.
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Aesthetics [European ] --- Aesthetics [Modern ] --- Esthetica (Moderne filosofie) --- Esthetica [Europese ] --- Esthetica [Moderne ] --- Esthétique (Philosophie moderne) --- Esthétique européenne --- Esthétique moderne --- Modern aesthetics --- Moderne esthetica --- 111.85 --- Metafysica: schoonheid; metafysische esthetica --- Aesthetics, European. --- Aesthetics, Modern. --- 111.85 Metafysica: schoonheid; metafysische esthetica --- Aesthetics, European --- Aesthetics, Modern --- European aesthetics