995 resultados para early Netherlandish painting
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This thesis is a study of fifteenth- to mid sixteenth-century Netherlandish triptych exteriors, focusing on the so-called ‘grisaille’ technique. During this period, altarpieces produced in the Low Countries were typically constructed in a tripartite format with folding wings. This arrangement created the opportunity for pictorial representations on both sides of the hinged panels. Painters emphasized the distinction between the triptych’s two faces by executing the exteriors in a strikingly more subdued palette than the interiors. Particular iconographic subject matter was favoured for grisailles, which often depict the Annunciation or saints that reflect the triptych’s patronage or intended location. Jan van Eyck was notable for his emphasis on imitating stone statuary and created three important grisailles, one of which would influence triptych exteriors for years to come. Hieronymus Bosch, an artist working at the turn of the sixteenth century, also brought innovation to his grisailles, further expanding the potential of these reduced-palette paintings. This thesis examines the creative process involved in the production of grisailles and compares the underdrawings of triptych exteriors to those of the corresponding polychromatic interiors. In this study, grisailles are situated in their context as part of multifaceted artworks as well as within the broader church environment. New infrared reflectograms were generated using Queen’s OSIRIS infrared camera to document works in Belgium and the Netherlands. While some aspects of underdrawings could indicate that the figure was meant to imitate statuary, this distinction was not directly linked to triptych exteriors and was related instead to efforts at a trompe-l’oeil effect. Such attempts at mimicry can also be found on triptych interiors. Through a close examination of the underdrawing stage of these paintings it appears that this part of the creative process was not distinguished in any significant way from the underdrawings of triptych interiors.
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La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.
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O pintor Jorge Afonso (c. 1480-1540) ocupou cargos da maior importância e foi mestre de alguns dos mais importantes artistas da primeira metade do século XVI. Por laços familiares, por ligações profissionais, ou como representante régio no fornecimento e controle de empreitadas, esteve no centro das grandes obras artísticas do seu tempo. Fez uma carreira como oficial de armaria dentro da reestruturação manuelina, o que o tornou, também do ponto de vista simbólico, uma figura importante da corte do Venturoso. A Jorge Afonso são atribuídas as grandes tábuas da Charola do Convento de Cristo de Tomar, oito pinturas do mosteiro da Madre de Deus e o retábulo do Convento de Jesus de Setúbal. A dissertação reanalisa os dados biográficos do pintor, estuda as pinturas incluindo o seu desenho subjacente, e reelabora a compreensão da pintura portuguesa do tempo, vista sob a influência desta figura tutelar; ABSTRACT: Jorge Afonso. An essential quest on Portuguese primitive painting. Painter Jorge Afonso (1480-1540), held positions of major importance and was master of some of the most remarkable artists of the first half of the 16th century. By family links, by professional connections or as Royal representative for the supply and control of works, he was at the very center of the great artistic works of his time. He built a career as Herald what made him an important figure in King D. Manuel’s court . To Jorge Afonso are attributed the large paintings of the ‘Christ’s Convent’ Ambulatory in Tomar, eight paintings from the ‘Madre de Deus’ monastery and the ‘Covent of Jesus’ altarpiece in Setubal. This dissertation reanalysis the painter biographical data, studies the paintings including its underdrawing and reconstructs the understanding of Portuguese painting of that time, perceived under the influence of this tutelary figure.
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Volume 2 has title: History of painting.
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This chapter takes as a working premise that digital culture is embedded in the every-day life experiences of most children living in post-industrial societies, both in home and, increasingly, in educational contexts. We outline how our research project investigated strategies for developing learning in the arts for young children by using the iPad as a creative device, rather than one on which they consume content in the form of games, on demand television and streaming video. We ask critical questions around creative ecologies and creative production; these grow from our observations on how young children and their families engaged with iPads through activities such as combining painting with digital photography. Analysis of work samples produced by children during the project enables interrogation of the ways in which young children can participate in arts practices and learning when digital media production is available. The chapter is structured around three themes of practice for iPad-based arts and creative education in preschool settings.
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The black muntjac (Muntiacus crinifrons) has an unusual karyotype of 2n = 8 in females and 2n = 9 in males. We have studied the evolution of this karyotype by hybridising chromosome-specific paints derived from flow-sorted chromosomes of the Chinese muntjac (M. reevesi, 2n = 46) to chromosomes of the black muntjac. The hybridisation pattern allowed us to infer chromosomal homologies between these two species. Tandem and centromeric fusions, reciprocal translocations, and insertions are involved in the reduction of the diploid number from 2n = 46 to 2n = 8, 9. The painting patterns further show complex chromosomal rearrangements in the male black muntjac which involve more than half the karyotype, including both sex chromosomes. Since early meiosis is reported to be normal without any visible inversion loops of the synaptonemal complex, the observed chromosomal rearrangements would lead to heterosynapsis and, therefore, leave a large fraction of the male black muntjac karyotype balanced between the two sexes.
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Cross-species painting (fluorescence in situ hybridization) with 23 human (Homo sapiens (HSA)) chromosome-specific painting probes (HSA 1-22 and the X) was used to delimit regions of homology on the chromosomes of the golden mole (Ghrysochloris asiaticus) and elephant-shrew (Elephantulus rupestris). A cladistic interpretation of our data provides evidence of two unique associations, HSA 1/19p and 5/21/3, that support Afrotheria. The recognition of HSA 5/3/21 expands on the 3/21 synteny originally designated as an ancestral state for all eutherians. We have identified one adjacent segment combination (HSA2/8p/4) that is supportive of Afroinsectiphillia (aardvark, golden mole, elephant-shrew). Two segmental combinations (HSA 10q/17 and HSA 3/20) unite the aardvark and elephant-shrews as sister taxa. The finding that segmental syntenies in evolutionarily distant taxa can improve phylogenetic resolution suggests that they may be useful for testing sequence-based phylogenies of the early eutherian mammals. They may even suggest clades that sequence trees are not recovering with any consistency and thus encourage the search for additional rare genomic changes among afrotheres.
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This paper outlines a study of the microstructure of thin sheets of ivory used as a painting support for portrait miniatures. Warping of the ivory support is one of the main problems commonly found in portrait miniatures from the late eighteenth century and early nineteenth century. Portrait miniatures from this period are painted on very thin sheets of ivory that are often only 0.2 mm in thickness. Warping can lead to cracking of the ivory and can also accentuate flaking of the paint layer. The problem of warping in ivory has thus been of long-term interest to conservators who deal with portrait miniatures, including those at the Victoria and Albert (V&A) Museum. The causes of warping are complex. However, it should be noted that artists normally stuck the thin ivory sheets onto paper or card before commencing the painting. The possible causes of warping therefore are thought to relate to the differential reactions of the ivory/adhesive/paper or card layers to changes in relative humidity (RH). It is well known that ivory is hygroscopic and anisotropic.1 However, only a few scientific studies have been carried out related to this subject and systematic analyses of the morphological and microstructural changes due to changes in RH or moisture in such thin sheets of ivory have yet to be investigated.
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This article presents an intermedial analysis of the Italian silent film Cabiria by Giovanni Pastrone within the cultural context of its time. Employing theories developed by Werner Wolf and Irina Rajewsky, the article lays out the intermedial and transmedial relationships of Cabiria with other media, in particular opera, literature, and painting, and illustrates that operatic references are incorporated recognizably during key moments of the film. By contrasting these references with specific cinematic techniques, Pastrone demonstrates that film is able to elicit an operatic sensation and that film is a distinct and valuable form of art.