No description available.

This thesis is a comprehensive assessment of the life and work of the Italian Renaissance artist Paolo Uccello (c. 1397- 1475). It employs an interdisciplinary methodology combining the examination of archival evidence of the artist’s personal, social and professional lives, the scientific examination of his artworks, the interpretation of his iconography based on the contexts his works were made for, and an approach to attributions based on documentary, stylistic and technical evidence rather than tradition. Unpublished documents presented here shed new light on Uccello’s family and early career, underlining the importance of his extended family as a point of contact between the artist and the networks of patronage in and around Florence. New scientific analyses of three works conducted for this study, including infrared reflectography, X-radiography and microsampling, reveal the sophistication of Uccello’s technique and help to clarify the chronology of his works. New interpretations of Uccello’s works proposed here, relating in particular to his use of perspective, address the significance of their contexts, highlighting the subtlety and specificity of Uccello’s imagery. / The catalogue raisonne is the most extensive survey of works attributed to Uccello to date, and presents unpublished documents for the provenances of two works attributed to Uccello. Contrary to the image of Uccello as an isolated and eccentric figure commonly encountered in the art historical literature since Vasari’s sixteenth-century biography of the artist, Uccello emerges from a detailed study of the documentary and physical evidence as an artist of his time, involved in Florentine society, religion and commerce, and an innovative artist, a creator of unforgettable images who was admired by his peers and subsequent generations of artists, ensuring his place as one of the protagonists in the field of early Renaissance art.

Thesis (MA (Hons) Visual Arts) -- University of Western Sydney, Nepean, 1998. / "Submitted in part fulfillment for the degree of M(Hons) in Visual Arts, University of Western Sydney, Nepean" Bibliography : p. 40-42.

Freie Univ., Diss.--Berlin, 2002. / Literaturverz. S. 267 - 286.

Thesis (Ph. D.)--New York University, 1977. / Cataloging based on CIP information. Includes bibliographical references (p).

No description available.

Study of self-presentation of artist in the Italian painting of the 16th century - abstract Italian art of the 16th century, known as the Cinquecento, is undoubtedly a captivating chapter of art history. No less interesting are the lives of artists from that time, the understanding of self-value and its presentation, creating the artist's identity, i.e. their "artistic self". Within a century we may observe the transformation from a craftsman to an artist, and subsequently artist- the courtier. The main representatives of this "movement", trying to raise the status of arts and artists in the society, were Giorgio Vasari and Federico Zuccari. Each represented a different generation of artists; however, figures of both these painters are complemented in a curious way. There are moments when their lives meet and, in a certain way, follow one another. It is one of the reasons, why the connection Vasari-Zuccari is suitable for understanding social situation or the self-presentation of central Italian artists in the 16th century. It is almost as if this duo was representing a fictitious art figure of the Cinquecento, whose life began 1511 (with the birth of Giorgio Vasari) and ended in 1609 (with the death of Federico Zuccari) and by studying this figure we discover the development of artists' self-concept and...

Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T09:46:44Z (GMT). No. of bitstreams: 1 Meneses_PatriciaDalcanale_M.pdf: 8894128 bytes, checksum: 81da8af625498974d32dee145363c4fc (MD5) Previous issue date: 2005 / Resumo: o objetivo desta pesquisa é estudar três pinturas de cenas urbanas conhecidas como painéis de Urbino, Baltimore e Berlim e, mais especificamente, o ambiente cultural que as produziu. Considerando a cidade de Urbino como o mais provável local de origem dessas obras, o estudo concentra-se na relação entre arte e política, e no papel da arquitetura e cultura humanistas no ducado dos Montefeltro / Abstract: The purpose of this research is to study the three paintings of urban scenes, known as the Urbino, Baltimore and Berlin panels, and more particularly the cultural milieu that produced them. Considering the city of Urbino the most probable place of origin of the works, this study focuses on the relationship between politics and art, and the role of architecture and humanistic culture at the Montefeltro ducal estate / Mestrado / Historia da Arte / Mestre em História

L’apparition de l’image du Mongol dans les peintures italiennes est un phénomène particulier et marginal aux XIIIe et XIVe siècles. Notre thèse s’interroge et analyse comment les artistes représentent cette nouvelle image de l’autre, si étrangère et siimpensable, et considère la formation et la transformation des images dans différents contextes. L’image du Mongol s’inscrit dans l’histoire transculturelle qui correspond à la période de la Pax Mongolica s’étendant entre 1250 et 1350. Après la conquête mongole, l’Empire mongol construisit une période de paix dans le vaste territoire de l’Eurasie. L’autorité mongole fit un grand effort pour faciliter les routes commerciales, elle construisit un réseau de routes qui permit aux marchands, ambassadeurs et missionnaires de circuler facilement entre l’Europe et l’Asie. A partir de ce moment, les figures mongoles, comme image d’altérité, pénètrent, d’une manière anachronique, dans les narrations évangéliques, comme l’Adoration des mages, la Crucifixion, la Pentecôte et la Résurrection. Elles ne jouent pas toujours un rôle péjoratif, mais changent leur image selon les contextes et les moments : elles ont été représentées comme Gog et Magog à la fin des temps, soldat partageant la tunique du Christ, spectateur et témoin devant le martyr et la Crucifixion, et rois orientaux adorant l’enfant Jésus. Tout cela constitue, dans une certaine mesure, une image oscillatoire qui crée une tension entre la terreur et l’espoir. Notre thèse tente de penser cette complexité du contexte dans la représentation de la figure mongole et dans ce processus, de démontrer comment l’image donne, à son tour, une visibilité des mentalités de la fin du Moyen Âge. / The appearance of Mongol images in Italian paintings is a particular and marginal phenomenon in the late 13th and 14th centuries. My thesis examines and analyses how artists represent this new image of the Other, so foreign and so unthinkable, and considers the formation and transformation of images in different contexts. The Mongol image inscribed in a transcultural history corresponds to the period of the Pax Mongolica between 1250 and 1350. After the Mongol conquest, the Mongol Empire built a period of peace in the vast territory of the Eurasia. The Mongolian authority made a great effort to facilitate the trade routes, and built a network of roads that allowed merchants, ambassadors and missionaries to circulate easily between Europe and Asia. From this moment, the Mongol image, as an image of otherness, penetrates into evangelical narrations in an anachronistic way, such as the Adoration of the Magi, the Crucifixion, Pentecost and the Resurrection. The role of Mongol is not univocally negative. It changes according to the moments and contexts: they were represented as Gog and Magog at the end of time; as soldier dividing the tunic of Christ; as spectator and witness watching the crucifixion or martyrdom scenes; as oriental kings worshiping the newborn Christ-child. All of this constitute, to some extent, an oscillating image that creates a tension between terror and hope. My thesis aims to consider the complexity of the context in the representation of the Mongol image and to demonstrate how, in this process, the image gives, in turn, a visibility of the mentalities of the end of the Middle Ages.

The aim of the thesis is to evaluace the altars with the central theme of Our Lady of Italian prohnance of the 14th and 15th centuries from the collection of Tommaso degli Obizzi, today in the National Gallery in Prague. The introduction will be assessed for czech and foreign literature on the topic. Then will be recalled the circumstances of the origin of this collection and the way how these works came from Konopiště chateau to the National Gallery in Prague. Next part of the thesis will be focused on five altarsplates, which will be interpreted by formal. Thes e works will be processed accordingly katalog system. Finally, work will evaluace those works and thein importance in the kontext of collecting in a wider context.