Pequena história do azul. O azul como imagem e limite do visível: Manlio Brusatin e a perspectiva pictórica

Among the conscience of the intrinsic value of the pictorial, it resides a continuum understanding of which is fundamental in the relationships and contradictions of succedaneum poetic acts, and they will be better understood as the better we think as M. Brusatin, in order to «dedicate ourselves to the painting return». Reminding all that which was symptomatic and repeatedly hidden and deprecated by the draw – «the colour as decorative complement of the narrative allegory of art history», in our interpretation about Storia dei Colori, we follow the painting in its nature-temporal-space, seeing the “colour-image”, the “colour- shadow”, the “flux to light in white-opacity”. We count the intrinsic vitality of bluish life in people’s cultures; listening to it in its deepness, also in the singular profession’s act, as «once upon a time there was a time again, naturally, the once upon the time of being the Painter» as, for instance, Rafael, Kandinsky, Yves Klein, Mark Rothko and Gerhard Richter.

O tríptico da paixão de Cristo do Palácio Nacional da Ajuda: história, estudo material, iconografia e filiação estílistica

O objeto de estudo desta dissertação é um pequeno tríptico do Palácio Nacional da Ajuda, provavelmente dos finais do séc. XV, sobre o qual existe pouca informação. A obra pertence ao acervo de pintura antiga deste palácio/museu (inv. 3540) e encontra-se exposta no “Atelier de Pintura de D. Luís”. Trata-se de uma pintura sobre tábua de carvalho, em mau estado de conservação, representando cinco episódios relativos à Paixão de Cristo: a Flagelação, a Coroação de Espinhos, o Caminho do Calvário e duas cenas relativas à Ressurreição. Apresenta uma iconografia singular, mas as suas características gerais indicam tratar-se de uma pintura tardo-gótica do Norte da Europa, nomeadamente da Alemanha. O objetivo desta tese de mestrado em História da Arte, Património e Teoria do Restauro, consiste na investigação histórica e material desta obra, sobre a qual existe pouca informação. Por ser desconhecida a sua cronologia, autoria e local de produção, além de não haver qualquer documentação ou bibliografia sobre a mesma, iremos estudar esta obra a partir da sua materialidade, iconografia e estilo, na medida em que a obra é um “documento vivo”. Tendo sido agora encontrada a única e a mais antiga referência documental relativa a esta obra, nos arrolamentos de 1913 do palácio (Inventário Judicial), este tríptico consta na "Galeria de Quadros”, indicando ter pertencido à coleção de pintura de D. Luís I. Interessa, então, focar a política de aquisições de pintura antiga nórdica desenvolvida pelo monarca, tentando perceber porque é que o tríptico não consta nos catálogos das exposições (duas edições dos catálogos, 1869 e 1872) da “Galeria de Pintura no Real Paço da Ajuda”, aberta ao público em1869. Porque a interdisciplinaridade entre arte e ciência é fundamental para um conhecimento mais profundo da História da Arte, esta obra foi objeto de um estudo material que consistiu no levantamento in situ da pintura (exames de área e de ponto), na análise laboratorial (estratigrafia, pigmentos e aglutinantes) e na integração dos resultados, para compreender a técnica pictórica, que se articula com a análise iconográfica e de filiação estilística, contribuindo para a integração da obra no seu contexto histórico-cultural de origem, como pintura devocional germânica.

Bollettino d'arte del Ministero della pubblica istruzione.

Description based on Ser. 2, anno 1, no. 1 (luglio 1921).

The works of Voltaire : a contemporary version with notes /

Accompanied by: Voltaire, index to his works, genius, and character / by Oliver H.G. Leigh. 302 p.

The works of Voltaire : a contemporary version ; with notes by Tobias Smollett, rev. and modernized ; new translations by William F. Fleming and an introd. by Oliver H. G. Leigh. A critique and biography /

At head of title: Edition säns soucï.

Architecture, classic and early Christian;

At head of title: Illustrated handbooks of art history.

Architecture, classic and early Christian /

At head of title: Illustrated handbooks of art history.

Die Schloss- (Stifts-) Kirche zum heiligen Michael in Pforzheim ... Mit 11 Lichtdrucktafeln.

Mode of access: Internet.

The Chatter of the Visible : Montage and Narrative in Weimar Germany /

'The Chatter of the Visible' examines the paradoxical narrative features of the photo montage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Architecture, classic and early Christian /

At head of title: Illustrated handbooks of art history.

Oud Holland

Editors: 1883-92, N. de Roever (with A.D. de Vries, 1883, A. Bredius, 1886-92); 1893-19<42> A. Bredius (with E.W. Moes, 1893-1912, H.E. van Gelder, 1913- F.W. Hudig, 1923/24-1937, H. Schneider, 1937-<42>)

Die Nürnberger Miniaturmalerei bis 1515 ... Mit 10 Lichtdrucktafeln, etc.

Mode of access: Internet.

Plastic / Explosive: Claude Cahun and the Politics of Becoming Otherwise

Thesis (Ph.D.)--University of Washington, 2016-06

The Making of Intermedia: John Cage to Yoko Ono, 1952 to 1972

Thesis (Ph.D.)--University of Washington, 2016-06