El recurs del buit en la pintura de Ma Yuan

Peer-reviewed

Matkustus Suomessa. : Ensimmäinen jakso. ... : Selitykset Z. Topeliusʼen kirjoittamat.

Engraved illustrations are based on the original oil paintings of several Finnish artists: A. v. Becker, A. Edelfelt, R. W. Ekman, W. Holmberg, K. E. Jansson, O. Kleineh, J. Knutson, B. Lindholm, H. Munsterhjelm och B. Reinhold.

En resa i Finland. : Första serien. ... : Text af Z. Topelius.

Engraved illustrations are based on the original oil paintings of several Finnish artists: A. v. Becker, A. Edelfelt, R. W. Ekman, W. Holmberg, K. E. Jansson, O. Kleineh, J. Knutson, B. Lindholm, H. Munsterhjelm och B. Reinhold.

Suomi : kuvia Suomen maasta ja kansasta : etevimpäin kotimaisten taiteilijain maalausten mukaan. : Tekstin kirjoittaja K. Suomalainen.

Digital reproduction, The National Library of Finland, Centre for Preservation and Digitisation, Mikkeli

Nature et paysage dans la littérature artistique et dévotionnelle à l'époque de la Contre-Réforme

À l’aide des écrits d’humanistes chrétiens, ayant exercé un contrôle sur la pratique des arts après le Concile de Trente, nous tenterons d’expliquer le développement du genre paysager en peinture. Le cardinal Federico Borromeo, Louis Richeôme ainsi que Jean Calvin figurent parmi les théologiens qui ont contribué à cette littérature chrétienne influente. Nous nous servirons surtout de l’historiographie récente afin de prouver le rôle essentiel joué par la pensée chrétienne dans le développement de la représentation de la nature en art. Prenant appui sur certaines études importantes, nous analyserons des exemples tant picturaux qu’architecturaux qui reflètent cette influence chrétienne sur la perception de la nature. Au préalable, nous tenterons de dresser un portrait de l’environnement culturel et religieux dans lequel ces humanistes chrétiens ont vécu et développé leur pensée. Notre objectif sera de prouver que l’humanisme chrétien a joué un rôle important pour l’essor du paysage à l’époque de la Contre-Réforme. Les sources contemporaines ainsi que leur interprétation par les historiens et les historiens d’art modernes permettront de mieux comprendre le rôle joué par la pensée chrétienne au sein de ce développement artistique.

Girona, capital europea del paisatge

Resum de la V Trobada dels tallers per a l’aplicació del Conveni europeu del paisatge, què va tenir lloc a Girona al setembre de 2006

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

Paul Flandrin (1811-1902), un nuovo sguardo sul paesaggio dell'Ottocento

Questa ricerca ha l’obiettivo di dare nuovi contributi alla conoscenza della pittura di paesaggio francese nell’Ottocento attraverso lo studio dell’opera di Paul Flandrin (1811-1902). Flandrin si colloca al crocevia di esperienze fondamentali nella ricerca artistica di metà Ottocento: l’eredità di Camille Corot, l’insegnamento di Jean-Auguste Dominique Ingres, la pratica del lavoro en plein air, la tradizione del paesaggio neoclassico. Il corpus di opere del pittore lionese Paul Flandrin (1811-1902) ricostruito in questa tesi è frutto di una sistematica operazione di ricerca sul campo e viene in seguito analizzato alla luce dei recenti studi sulla pittura di paesaggio neoclassico in Francia nel XIX secolo. La ricerca si fonda su una grande quantità di materiale inedito: dipinti, disegni, taccuini di studio en plein air, corrispondenza con colleghi e amici. Da questa ricerca la fisionomia artistica di Paul Flandrin emerge ben individuata singolarmente e al tempo stesso ancorata al contesto storico-artistico attraverso le relazioni con i colleghi, l’utilizzo di determinate tecniche, la frequentazione di mete comuni ai paesaggisti suoi contemporanei, la decisa presa di posizione a favore del paesaggio neoclassico.

The Foundations of the Artists’ Community of Estes Park

"Estes Park lies in a beautiful location amongst the Rocky Mountains, sixty-five miles from Denver. Settlers came to the region in the second half of the nineteenth century. Among them in 1898 was artist R.H. Tallant who became a prominent landscape painter of the Rocky Mountains. Settling shortly after him was well-known painter Charles Partridge Adams. While Tallant and Adams founded the artists’ community, renowned artist Birger Sandzén and soon to be popular Dave Stirling were the mainstays pushing the artists’ community to new heights through the 1920s and 1930s. The establishment of a thriving artists’ community by Tallant, Adams, Sandzén and Stirling made Estes Park a recognizable place for attracting numerous artists throughout its history"

Verzeichniss der Gemälde-Sammlung des Königlichen Museums zu Berlin /

Includes index.

Paysages et marines : traité théorique et pratique, indiquant la manière de les peindre /

Mode of access: Internet.