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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Studies on the sources and documents relating to the life and work of Titian

Hope, Charles January 1975 (has links)
No description available.
2

A historiography of idealized portraits of women in Renaissance Italy : the idea of beauty in Titian's La Bella

Rosshandler, Michelle January 2004 (has links)
Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.
3

O retrato do cardeal Cristoforo Madruzzo, por Tiziano : o relógio e a política no renascimento / The portrait of the cardinal Cristoforo Madruzzo, by Titian : the clock and the politics in the Renaissance

Silva, Isabel Hargrave Gonçalves da, 1987- 24 August 2018 (has links)
Orientador: Luiz César Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T00:07:32Z (GMT). No. of bitstreams: 1 Silva_IsabelHargraveGoncalvesda_M.pdf: 3737281 bytes, checksum: a829869df2478bcf2b9705c711da3747 (MD5) Previous issue date: 2013 / Resumo: Pertencente ao acervo do Museu de Arte de São Paulo, o Retrato do Cardeal Cristoforo Madruzzo foi pintado por Tiziano em 1552, na segunda viagem do pintor à cidade imperial de Augsburg. O cardeal representado foi anfitrião do Concílio de Trento, de onde era príncipe-bispo, e que catalizou a Reforma Católica que deu novas diretrizes para a religião, a arte, e a história do Ocidente. Como príncipe-bispo do território imperial de Trento, Madruzzo atuou como embaixador e porta-voz de Carlos V, imperador do Sacro Império Romano Germânico. Como cardeal romano, serviu a mais de cinco papas ao longo de quase trinta anos. Madruzzo, portanto, encontrava-se como mediador entre as forças e os interesses papais e os do imperador. O retrato, executado pelo maior retratista do século - preferido de Carlos V e que pintou diversos membros da corte Habsburga - deixa transparecer aspectos diferentes desse momento da história européia. O cardeal é representado no ato de abrir a cortina vermelha e revelar um precioso relógio mecânico no qual está gravada a data do quadro, e que indica uma hora precisa. Longe se ser a primeira vez em que um relógio mecânico aparece num retrato, este se insere numa tradição iconográfica que atribui ao mecanismo diversas conotações morais, como a virtude da temperança, a vanitas, o memento mori. Além disso, o objeto passa a ser visto como um símbolo da regularidade do mundo que, com o advento da ciência, é cada vez mais racional e preciso. O relógio mecânico foi apreciado por colecionadores, como o próprio Carlos V, cujo interesse se devia em parte à proliferação de textos políticos que associavam a ação do governante às engrenagens de um mecanismo como o relógio. Enfim, o mecanismo em forma de torre presente no Retrato do Cardeal Cristoforo Madruzzo é, mais do que um objeto, o personagem central da cena, cuja teatralidade brilhantemente construída por Tiziano nos fez percorrer toda essa trajetória / Abstract: From the collection of the Museum of São Paulo, the Portrait of the Cardinal Cristoforo Madruzzo was painted by Titian in 1552 in his second trip to the imperial city of Augsburg. The cardinal was the host of the Council of Trent, where he was prince-bishop, and which catalyzed the Catholic Reformation and brought new directions to religion, art and the Western history. As prince-bishop of the imperial territory of Trent, Madruzzo acted as ambassador and spokesman of Charles V, emperor of the Holy Roman Empire. As Roman cardinal, he served more than five popes throughout almost thirty years. Therefore, Madruzzo acted between the forces and interests of pope and emperor. The portrait, painted by the greatest portraitist of the century - Charles V?s favorite, and who painted several members of the Hapsburg court - allows us to see different aspects of this moment in European history. The cardinal is portrayed in the action of opening the red curtain and revealing the precious mechanical clock that shows an exact hour, in which the date of the painting is engraved. Far from being the first appearance of a mechanical clock on a portrait, this object belongs to the iconographical tradition that attributes moral meanings to it, such as the virtue of temperance, the vanitas and the memento mori. Besides, this object is seen as the symbol of regularity in a world that, with the advent of science, becomes more rational and accurate. The mechanical clock was valued by collectors such as Charles V himself, whose interest was partially due to political texts that associated the action of the ruler with the wheels and engine of a clock. In short, the mechanism in the shape of a tower, present in the Portrait of the Cardinal Cristoforo Madruzzo is, even more than just an object, the main character of the scene, whose theatricality brilliantly built by Titian made us go through all this course / Mestrado / Historia da Arte / Mestra em História
4

The Use of the Golden Proportion in Paintings by Titian and Raphael

Hamilton, Barbara Ruth January 1942 (has links)
Paintings of Raphael and Titian were chosen for study (1) to ascertain the extent to which they used geometry, and (2) to determine, if possible, the differences and likenesses in their underlying schemas, and (3) to determine how geometrical divisions, if used, affected the character of their paintings.
5

A historiography of idealized portraits of women in Renaissance Italy : the idea of beauty in Titian's La Bella

Rosshandler, Michelle January 2004 (has links)
No description available.
6

A reassessment of Donatello's and Titian's Penitent Magdalens and the perspectives they offer on women and religion in Italian Renaissance art and society

Bryan, Katie Jane January 2009 (has links)
Fine Arts / Master / Master of Philosophy
7

Unraveling Canvas: from Bellini to Tintoretto

Nisse, Cleo January 2024 (has links)
Over the course of the fifteenth and sixteenth centuries, canvas substituted panel or wall as the preferred support for painting in Venice, moving from the periphery to the core of artmaking. As it did so, canvas became key to the artistic processes and novel pictorial language developed by painters like Titian, Tintoretto and Veronese. Sixteenth-century critics associated canvas with painting in Venice, a connection that has persisted to become a veritable trope of Venetian art history. Despite this, we have hitherto lacked a convincing account of Venetian canvas supports and their impact. This dissertation, by examining the adoption, development, and significance of canvas in Venetian art over the period 1400 to 1600, attempts to provide one. Approaching canvas from multiple perspectives, this project offers a deeper understanding of what early modern canvas was at a material level, how it was made and supplied to painters, and its catalyzing role in early modern Venetian art. By tracing precisely how canvas operates within paintings, focusing on lodestar examples whilst drawing on extensive and intensive object-based research carried out on a large corpus, this thesis demonstrates how actively canvas participated in the elaboration of the pictorial poetics of mature Cinquecento art in Venice. It argues that we owe the existence of this distinctive artistic idiom in no small part to the twist of a yarn, the roughness of a thread, the thickness of a stitch. Canvas was critical to both the making and the meaning of these pictures. The wider aims of the project are twofold: on the one hand, to model a methodology that integrates approaches such as visual, textual, and sociocultural analysis with technical art history and conservation-informed comprehension of the materially altered nature of art objects; on the other, to contribute to an account of the history of an art form—the canvas picture—that still occupies a central role in the global art world today.
8

Melancholy Figures: From Bosch to Titian

Hetherington, Anna Ratner January 2013 (has links)
My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally wth lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Dürer's Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael's depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist's self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings--such as The Garden of Earthly Delights and Death and the Miser--at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist's oeuvre. Chapter Five has at its focus Titian's Flaying of Marsyas and the artist's self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.
9

The aesthetics of sadism and masochism in Italian renaissance painting /

Taylor, Chloë January 2002 (has links)
This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
10

The aesthetics of sadism and masochism in Italian renaissance painting /

Taylor, Chloë January 2002 (has links)
No description available.

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