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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

Revising history : the critical fortunes of Alessandro Botticelli

Gomez, Ximena A. 2009 (has links) (PDF)
Undergraduate honors paper--Mount Holyoke College, 2009. Dept. of Art. Includes bibliographical references (leaves 121-126).
2

Sandro Botticelli’s The Return of Judith to Bethulia and The Discovery of the Body of Holofernes and the Experiences of Quattrocento Florence

Biagini, Julia 2011 (has links)
No description available.
3

Die religiösen Gemälde Sandro Botticellis Malerei als pia philosophia

Dombrowski, Damian 2004 (has links)
Zugl.: Würzburg, Univ., Habil.-Schr., 2004
4

Sandro Botticelli: a study of his major allegorical paintings

Snow-Smith, Joanne 1968 (has links)
No description available.
5

Botticelli: pintura e teoria

Mendonça, Débora Barbam [UNESP] 30 September 2011 (has links)
Made available in DSpace on 2014-06-11T19:26:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-30Bitstream added on 2014-06-13T19:06:12Z : No. of bitstreams: 1 mendonca_db_me_mar.pdf: 1024837 bytes, checksum: 49c9d72277934593a30a9483a27fe910 (MD5) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) Trata-se de uma investigação dos aspectos filosóficos que envolviam o fazer artístico de Botticelli; tomando como cenário a cidade de Florença durante o Quattrocento. Este trabalho se realizou a partir de uma dupla abordagem, envolvendo um debate filosófico e historiográfico, cuja finalidade foi a de apresentar as discussões teóricas que permeavam a atividade dos artistas da época. Nosso trabalho contou com um aparato histórico, para que fosse possível configurar o Renascimento a partir do contexto em que as atividades culturais estiveram inseridas. Dentre as teorias distintas que visavam refletir sobre uma questão comum, o belo artístico, ressaltamos a proposta neoplatônica de Marsilio Ficino e a teoria pautada no cientificismo humanista de Leon Batista Alberti. A finalidade do embasamento teórico era de indicar aos artistas como deveria ser a composição de suas obras, como deveriam ser as apropriações a partir da Antiguidade, e, desta maneira, mostra como localizar a beleza dada pela natureza. Procuramos em nosso trabalho identificar o pintor Sandro Botticelli como exemplo legítimo da busca pela beleza artística, pela graça que resultava da reflexão sobre a arte como imitação eletiva da natureza This thesis is an investigation on the philosophical aspects involved in Botticelli’s painting, adopting Florence during the Quattrocento as the main scenario. This work has been done from a double approach, involving a historical debate and a philosophical one, which aims at showing theoretical discussions, that underlies the activity of artists of this period. The historical apparatus of our work allowed us to configure the Renaissance from the context in such cultural activities were inserted. Among the distinct theories that aim to think about the artistic beauty, we highlighted Marcelo Ficino’s Neo-platonic proposal and the theory based on Leon Batista Alberti’s Humanist Scientific. The goal of this theoretic foundation was to indicate how should be the composition of works made by artists and how should be the appropriation of Ancient by them, what, thus, implies at showing how we can locate beauty given by nature. We seek in our work to identify Sandro Botticelli as a genuine example of the questing for artistic beauty, for grace which results of reflection about art as elective imitation of nature
6

Considerações sobre os desenhos de Sandro Botticelli para a Divina Comedia Considerations about Sandro Botticelli's drawings for the Divine Comedy

Vermeersch, Paula 2007 (has links)
Orientador: Marcio Seligmann-Silva Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem Made available in DSpace on 2018-08-11T10:57:27Z (GMT). No. of bitstreams: 1 Vermeersch_Paula_D.pdf: 10980689 bytes, checksum: 580b34aad69148ac6f37f95ab15e89a6 (MD5) Previous issue date: 2007 Resumo: A tese aborda alguns aspectos dos desenhos que o pintor florentino Alessandro di Marianni di Vanni Filipepi, dito Sandro Botticelli (1445-1510), realizou, em data incerta entre 1480 e 1500, para a ilustração da Divina Comédia de Dante Alighieri (1265-1321). Tais desenhos, feitos sobre pergaminho, foram separados durante séculos e sempre muito pouco se soube a seu respeito. Eles formam, ademais, o cerne de uma série de reflexões sobre o papel das artes figurativas no chamado Renascimento italiano, as quais envolvem as seguintes temáticas: a relação entre palavra e imagem; a presença de um diálogo com a tradição anterior de manuscritos ilustrados para o poema de Dante; o debate entre os comentadores da Comédia e a intersecção de projetos intelectuais, nas cidades italianas de fins do Quattrocento, sobre a recepção e compreensão do legado de Dante, como é o caso da primeira edição do Comento Sopra La Comedia, de 1481, do humanista Cristoforo Landino (1425-1498), e os incunábulos e as edições posteriores; e a visão de que, mais do que ilustrador, Botticelli também foi um comentador da Comédia, a partir de análises de algumas iconografias de seus desenhos Abstract: The present thesis deals with some aspects of the drawings that the Florentine Alessandro di Marianni di Vanni Filipepi, alias Sandro Botticelli (1445-1510), did, in uncertain date between 1480 and 1500, to illustrate the Divine Comedy of Dante Alighieri (1265-1321). Such drawings, which were made on parchment, were separated through centuries and always very little was known about them. They form, moreover, the center of a series of reflections on the role of the figurative arts at the so-called Italian Renaissance, which encompasses the following subjects: the relationship between word and image; the presence of a dialogue with the previous tradition of illustrated manuscripts for Dante¿s poem; the debate among the commentators of the Comedy and the intersection of intellectual projects, in the Italian cities at the end of the Quattrocento, on the reception and understanding of Dante¿s legacy, as is the case of the first edition of the Comento Sopra La Comedia, from 1481, of the humanist Cristoforo Landino (1425-1498), and the incunabula and the subsequent editions; and the vision that, more than being an illustrator, Botticelli was also a commentator of the Comedy, which can be deduced from the analyses of some of the iconographies of his drawings Doutorado Literatura e Outras Produções Culturais Doutor em Teoria e História Literária
7

The five paintings of the Adoration of the Magi by Sandro Botticelli

Lake, G. Thomas. 1986 (has links)
The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects. This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.
8

BOTTICELLI'S SISTINE FRESCOES.

Knutsen, Susan Noel. 1984 (has links)
No description available.
9

Un instrumento de piedad para Lucrezia Tornabuoni — estudio iconográfico e torno a las historias de Judit de Sandro Botticelli

Piña Rubio, Liza Nereyda 2011 (has links)
No description available.
10

Geometry as the Structural Basis of Composition in Paintings by Botticelli

Anderson, Kittie Blanks 1942 (has links)
Fewer geometrical analyses have been made of paintings than of any other group of works of art. For this reason ten paintings by a typical Florentine painter, Botticelli, were chosen by the author in order to find out; first, the extent to which geometrical divisions were used in determining the enclosing rectangles and the main lines of the composition; second, whether or not the same geometrically determined relationships were used by Botticelli frequently enough to be considered an important determinant of his style.

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