September 4, 476 A. D. marked the end of the Western Roman Empire. After several centuries of prosperity, Europe sank into chaos. With Charlemagne, a new dynamic begins that of a civilising reconstruction. The Romanesque period is part of the rediscovery of this Roman Empire, lost in memories, but living on in the architectural testimonies of the cities and the countryside. In art history, Romanesque art refers to the period between the beginning of the 11th and the end of the 12th century. This era was characterised by a great diversity of regional schools, each practising their own unique style. …
September 4, 476 A. D. marked the end of the Western Roman Empire. After several centuries of prosperity, Europe sank into chaos. With Charlemagne, a new dynamic begins that of a civilising reconstruction. The Romanesque period is part of the rediscovery of this Roman Empire, lost in memories, but living on in the architectural testimonies of the cities and the countryside. In art history, Romanesque art refers to the period between the beginning of the 11th and the end of the 12th century. This era was characterised by a great diversity of regional schools, each practising their own unique style. In architecture as well as in sculpture, Romanesque art is marked by raw forms. Through its rich iconography and captivating text, this work endeavours to restore the importance of this art which is often overshadowed by the later Gothic style. Gothic art is defined by the powerful architecture of the cathedrals of northern France. It is a medieval art movement that evolved throughout Europe over 200 years. Abandoning curved Roman forms, the architects started using flying buttresses and pointed arches to open cathedrals to daylight. A period of great economic and social change, the Gothic era incorporated new iconography celebrating the Holy Mary — a drastic contrast to the dismal themes of Roman times. Full of rich changes in all of the various art forms (architecture, sculpture, painting, etc.), Gothic art paved the way for the Italian Renaissance and the International Gothic movement.
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of …
In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.
When asked about Picasso, towards the end of his life, what was the difference between art and eroticism, he replied meditatively and dreamily: “But there is no difference.” others feared eroticism, Picasso warned against the dangerous experiments of art: “Art is never chaste, it should be kept away from all innocent ignorant. People insufficiently prepared should never come into contact with him. Yes, art is dangerous. When he is chaste, he is no longer art. ”The notion of erotic art is surrounded by a halo of hypocritical, deceptive and dissimulating concepts: art or pornography, sex or eroticism, obscenity or originality, …
When asked about Picasso, towards the end of his life, what was the difference between art and eroticism, he replied meditatively and dreamily: “But there is no difference.” others feared eroticism, Picasso warned against the dangerous experiments of art: “Art is never chaste, it should be kept away from all innocent ignorant. People insufficiently prepared should never come into contact with him. Yes, art is dangerous. When he is chaste, he is no longer art. ”The notion of erotic art is surrounded by a halo of hypocritical, deceptive and dissimulating concepts: art or pornography, sex or eroticism, obscenity or originality, these attempts at distinction and determination mix too much for an objective clarification to be When can we talk about “erotic art”? Hans Jurgen.
Those who have had the chance to hold a medieval manuscript in their hands cannot fail to have been impressed by the feeling of being in touch with a long-passed epoch. Back when a book was a true handicraft and every copy the result of a laborious process, the object was more a work of art than a volatile commercial product. The Mega Square Illuminated Manuscripts puts the reader in touch with amazing medieval illustrations and unique adornments, which document the imaginative power of their creators.
Capital city, subject of legends and myths, Paris also has its own special atmosphere. It is undoubtedly among the most beautiful of all cities due to its many celebrated monuments and buildings – the Eiffel Tower, the Arc de Triomphe, and the Sacré Coeur. Author Véronique Laflèche traces the historical development of Paris before taking us on a trip through the streets and the different areas of this unique city. Halting every now and then to provide us with details on the history of various buildings, famous or not so famous, reveals the throbbing pulse of the Parisian life, enabling …
Capital city, subject of legends and myths, Paris also has its own special atmosphere. It is undoubtedly among the most beautiful of all cities due to its many celebrated monuments and buildings – the Eiffel Tower, the Arc de Triomphe, and the Sacré Coeur.
Author Véronique Laflèche traces the historical development of Paris before taking us on a trip through the streets and the different areas of this unique city. Halting every now and then to provide us with details on the history of various buildings, famous or not so famous, reveals the throbbing pulse of the Parisian life, enabling us particularly to relish in its little finesses – from drinking mint tea on the patio of the mosque, perhaps, to ambling casually along the paths of the Jardin du Luxembourg. A return ticket between the past and the present, this book is concerned above all with the description of the city as it is today – in a process of constant change and of constant renewal.
This book presents a selection of oceanic charts dating from the 13th to the 17th century. Though to us they may appear rudimentary, they bear excellent witness to the achievements of the early European navigators, and to their determination to explore the very ends of the Earth. What the charts may lack in geographical accuracy they undoubtedly make up for in charm. And of course they are priceless historical records. Recounting the epic voyages of maritime exploration, from Erik the Red to Robert Peary, author Donald Wigal leads us on an exciting journey from Terra Incognita to the World As …
This book presents a selection of oceanic charts dating from the 13th to the 17th century. Though to us they may appear rudimentary, they bear excellent witness to the achievements of the early European navigators, and to their determination to explore the very ends of the Earth. What the charts may lack in geographical accuracy they undoubtedly make up for in charm. And of course they are priceless historical records. Recounting the epic voyages of maritime exploration, from Erik the Red to Robert Peary, author Donald Wigal leads us on an exciting journey from Terra Incognita to the World As We Know It.
Russian countryside is some of the world’s most lovely, from the celebrated explosions of wild flowers that fill its forests in the spring, to the icy winter tundra that defeated the advances of Napoleon and Hitler, and provided the backdrop for the drama of many of Russian literature’s celebrated scenes. And no one immortalized it better than Ivan Shishkin (1832-1898), a Russian landscape painter. In this comprehensive work of scholarship, Irina Shuvalova and Victoria Charles make a thorough examination of Shishkin’s work.
Of all pre-Hispanic cultures, the Maya have perhaps attracted the most attention on the part of archaeologists and historians. Their cultural proliferation, their extraordinary scientific contributions, and their epic survival have given rise to eccentric myths and even supernatural connotations. With the confusing array of texts, predictions, studies, and suppositions, we need to step back and ask: What is, in fact, the essence of Maya? This first volume in the series Discover the Maya World sheds light on the features that define and frame Mayanist studies, from the earliest examples onward, leading to a detailed analysis of the identity, architecture, …
Of all pre-Hispanic cultures, the Maya have perhaps attracted the most attention on the part of archaeologists and historians. Their cultural proliferation, their extraordinary scientific contributions, and their epic survival have given rise to eccentric myths and even supernatural connotations. With the confusing array of texts, predictions, studies, and suppositions, we need to step back and ask: What is, in fact, the essence of Maya? This first volume in the series Discover the Maya World sheds light on the features that define and frame Mayanist studies, from the earliest examples onward, leading to a detailed analysis of the identity, architecture, culture, and legacy of this fascinating people.
Aztec Women and Goddesses explores the various stages of the Mexica woman’s life. Miriam López analyzes the mythology, the archaeological discoveries, and the codices and sixteenth-century chronicles with perfect ease as she describes the conduct expected of women and the possibilities for their lives according to Mexica norms and ideals. This insightful work rescues the contributions of Mexica women from oblivion—contributions which, though they may not have been deemed worthy of recognition and prestige in their own day, played …
Aztec Women and Goddesses explores the various stages of the Mexica woman’s life. Miriam López analyzes the mythology, the archaeological discoveries, and the codices and sixteenth-century chronicles with perfect ease as she describes the conduct expected of women and the possibilities for their lives according to Mexica norms and ideals. This insightful work rescues the contributions of Mexica women from oblivion—contributions which, though they may not have been deemed worthy of recognition and prestige in their own day, played an essential part in shaping and consolidating the social structures of the Mexica Empire.
This book analyses the evolution of iconic art from its beginning in Byzantium to the time of the Russian Empire. Icons are a fundamental element in the history of art, and it is therefore crucial to understand how this form of expression began and how it developed over centuries. Icons are discussed by one of the world-renowned experts on early Christian iconography, offering a valuable point of reference for specialists, as well as students.
It is impossible to reflect upon Frederic Remington’s art without thinking of the merely human elements. Remington became interested in the American Indian, probably because he became interested in the active, exciting life of the American Great Plains. The Indian appealed to him not in any histrionic way, not as a figure stepped out from the pages of Hiawatha, but just as a human subject. Remington hit upon this truth when he travelled west. What he found there was majesty that he did not make, solely, an affair of Indians in war paint and feathers. Remington knew how the light …
It is impossible to reflect upon Frederic Remington’s art without thinking of the merely human elements. Remington became interested in the American Indian, probably because he became interested in the active, exciting life of the American Great Plains. The Indian appealed to him not in any histrionic way, not as a figure stepped out from the pages of Hiawatha, but just as a human subject. Remington hit upon this truth when he travelled west. What he found there was majesty that he did not make, solely, an affair of Indians in war paint and feathers.
Remington knew how the light of the moon or of the stars is diffused, how softly and magically it envelops the landscape. There is a sort of artistic honesty in his nocturnal studies. He never set out to be romantic or melodramatic, just to develop his affinity and closeness to nature. The beauty of the painter’s motive, too, has communicated itself in his technique. His grey-green tones fading into velvety depths take on transparency, and in his handling of form he uses a touch as firm as need be. The determining influence in his career was that of the creative impulse, urging him to deal in the translation of visible things into pictorial terms.
Mary was born in Pittsburgh. Her father was a banker of liberal educational ideas and the entire family appears to have been sympathetic to French culture. Mary was no more than five or six years old when she first saw Paris, and she was still in her teens when she decided to become a painter. She went to Italy, on to Antwerp, then to Rome, andfinally returned to Paris where in 1874, she permanently settled. In 1872, Cassatt sent her first work to the Salon, others followed in the succeeding years until 1875, when a portrait of her sister was …
Mary was born in Pittsburgh. Her father was a banker of liberal educational ideas and the entire family appears to have been sympathetic to French culture. Mary was no more than five or six years old when she first saw Paris, and she was still in her teens when she decided to become a painter. She went to Italy, on to Antwerp, then to Rome, andfinally returned to Paris where in 1874, she permanently settled.
In 1872, Cassatt sent her first work to the Salon, others followed in the succeeding years until 1875, when a portrait of her sister was rejected. She divined that the jury had not been satisfied with the background, so she re-painted it several times until, in the next Salon, the same portrait was accepted. At this moment Degas asked her to exhibit with him and his friends, the Impressionist Group, then rising into view, and she accepted with joy. She admired Manet, Courbet and Degas, and hated conventional art.
Cassatt’s biographer stressed the intellectuality and sentiment apparent in her work, as well as the emotion and distinction with which she has painted her favourite models: babies and their mothers. He then speaks of her predominant interest in draughtsmanship and her gift for linear pattern, a gift greatly strengthened by her study of Japanese art and her emulation of its style in the colour prints she made. While her style may partake of the style of others, her draughtsmanship, her composition, her light, and her colour are, indeed, her own. There are qualities of tenderness in her work which could have been put there, perhaps, only by a woman. The qualities which make her work of lasting value are those put there by an outstanding painter.
Utilizamos cookies propias y de terceros para mejorar su experiencia y nuestros servicios analizando su navegación en nuestra web y cómo interactúa con nosotros y poder mostrarle publicidad en función de sus hábitos de navegación. Para consentir su utilización, pulse el botón “Acepto”. Puede obtener más información consultando nuestra Política de Cookies.
