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1	Iconography and narrative in the 'St. Albans' Apocalypses / Fisher, Linda M (Linda Marie) January 1984 (has links) No description available. Fine Arts Apocalyptic art
2	Pieter Bruegel the Elder's Apocalyptic Fortitude Burris, Suzanne Lynn 12 1900 (has links) This thesis examines Pieter Bruegel the Elder's Fortitude, 1560, a print from the Seven Virtues series. Fortitude stands out as an anomaly within the cycle because it contains several allusions to the Book of Revelation. The linkage of Fortitude to the writings of St. John is important because it challenges previous iconographic and iconological analyses of the composition. Analysis of Fortitude's compositional elements is provided, along with an examination of the virtue tradition. Additionally, an exploration of sixteenth-century apocalypticism is included, as well as an examination of the artistic influences that may have inspired Bruegel. This thesis concludes that Fortitude's apocalyptic allusions do not seem unusual for an artist familiar with St. John's prophecies, influenced by Hieronymus Bosch, and living in an age of apocalypticism. Pieter Bruegel the Elder Fortitude Seven Virtues Book of Revelation art history apocalypticism Apocalyptic art.
3	Recycled realities : the exploration of source matieral in contemporary pictorial art Du Plessis, Daniel 06 1900 (has links) The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts & Musicology / M.A. (Fine Arts) Allegory Appropriation Conceptual art Contemporary pictorial art Contemporary pictorial art Copying Culture/nature Hybridisation Iconic signs Landscape painting Modernism Nature/culture Postmodernism Prototypes Realism Reality Representation Semiotics Visual conventions Visual reference 709.68 Realism in art Conceptual art Modernism (Art) Semiotics and the arts Apocalyptic art Landscape painting Influence (Literary, artistic, etc.)
4	Recycled realities : the exploration of source matieral in contemporary pictorial art Du Plessis, Daniel 06 1900 (has links) The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts and Musicology / M.A. (Fine Arts) Allegory Appropriation Conceptual art Contemporary pictorial art Contemporary pictorial art Copying Culture/nature Hybridisation Iconic signs Landscape painting Modernism Nature/culture Postmodernism Prototypes Realism Reality Representation Semiotics Visual conventions Visual reference 709.68 Realism in art Conceptual art Modernism (Art) Semiotics and the arts Apocalyptic art Landscape painting Influence (Literary, artistic, etc.)
5	L'Image dans le Beatus de Lorvão: figuration, composition et visualité dans les enluminures du Commentaire de l'Apocalypse attribué au scriptorium du monastère de São Mamede de Lorvão-1189 Silva Rocha, Jorge Manuel Gomes da 05 May 2008 (has links) L’Apocalypse de Lorvão appartient au cycle des commentaires illustrés de la vision de Jean aujourd’hui connus sous le nom de «Beatus». Ces œuvres d’exégèse, enluminées surtout dans le nord de la péninsule Ibérique pendant l’occupation musulmane, constituent un ensemble pictural à l’identité artistique indéniable. Cependant, le manuscrit copié et illustré dans le scriptorium du monastère de São Mamede de Lorvão en 1189 diverge à plusieurs reprises des options iconographiques des autres codex et les solutions picturales et stylistiques de l’oeuvre portugaise se détachent significativement de celles des Beatus de la même époque comme par exemple ceux de Manchester, Cardeña ou Navarre. L’oeuvre se différencie aussi du travail produit dans les scriptoria portugais les plus réputés de Santa Cruz de Coimbra et Santa Maria de Alcobaça et amène à nous interroger sur le contexte de création de l’œuvre et sur la visualité qui a été à l’origine de ces images peintes. A partir de l’analyse du travail de figuration du moine artiste on constate que la nature conceptuelle du texte interprétatif s’est superposée à la dramatisation des visions de Jean et qu’elle a conditionné l’attitude créative. C’est donc dans le rapport conceptuel et spirituel entre le travail pictural et le texte exégétique que les images du manuscrit de Lorvão trouvent, en grande partie, leur singularité. La proximité entre l’image et l’exégèse semble aussi avoir été transmise aux enluminures de Lorvão par l’archétype utilisé, dépositaire probable d’une orientation plus conceptuelle et minimale qui serait une caractéristique des enluminures des premiers Beatus. Cela peut aussi avoir une répercussion importante dans la reconfiguration du stemma pictural des Beatus. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished Histoire Sciences humaines Apocalyptic art -- Portugal Enluminure portugaise Enluminure mozarabe -- Portugal Art apocalyptique -- Portugal Apocalypse Beatus de Liébana Lorvão

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