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Religious architecture --- History of Belgium and Luxembourg --- Luxembourg --- Tombs --- Tombeaux --- Kings and rulers --- History --- Civilization --- Rois et souverains --- Histoire --- Civilisation --- Sepulchral monuments, Medieval. --- Holy Roman Empire --- Sepulchral monuments, Medieval --- Kings and rulers. --- Civilization. --- Holy Roman Empire - History - House of Luxemburg, 1308-1437
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The concepts of art history were developed in the nineteenth century. This can inhibit dialogue with neighbouring disciplines. The concept “medium”, which belongs to the late twentieth century, can provide assistance and connect the argument of art history to the contemporary state of consciousness at least in the cultural sciences dealing with communication. At the centre of the book lie questions of the use and effect of objects. Dealing with a series of high-ranking art works, an observational method is practised that is both historically founded and compatible with modern discourses. The six case studies address the Naumburg Stifterfiguren, Pietro Lorenzetti’s frescos in Assisi, the Parament of Narbonne, the tomb of Archbishop Chichele in Canterbury, Raphael’s Sistine Madonna in Dresden, and the self-portraits of Anton Pilgram in St Stephen’s Church in Vienna.
History of art / art & design styles --- Art history --- medium --- liturgy --- Kunstgeschichte --- Medium --- Liturgie --- Kult --- Medienkunst --- Christian art and symbolism --- Art et symbolisme chrétiens
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Painting --- History --- Christus aan het Kruis --- Rubens, Peter Paul --- Buonarroti, Michelangelo --- anno 1600-1699 --- Flanders
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This represents the second volume of a three-volume undertaking. Volume I (M.V. Schwarz und P. Theis, Giottos Leben (Giotto´s life), Vienna 2004) critically examined Giotto´s biography and the corpus of his documented works. Volume 2 presents these works in their respective contexts and attempts to gather information about dating and sequence. It begins with the Arena Chapel, which is Giotto´s most extensive and best documented works. The documentation was still further improved by Michaela Zoeschg´s campaign in the archives and libraries of Padua and Venice. Some aspects of the chapel´s early history now appear in a different light. With regard to the paintings, it is possible to emphasise more strongly than before that they adress the viewer in a decidedly different way. The classic "pictures" (in Hetzer´s sense) are specially cases, whose conception is only gradually developed.
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