Inaug.--dissertation--Köln. / Lebenslauf. "Literaturverzeichnis": p. 5-6.

Inaug.--dissertation--Köln. / Lebenslauf. "Literaturverzeichnis": p. 5-6.

Thesis--Lund. / Extra t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 196-206) and index.

No description available.

Bibliography: pages 67-70. / The essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations.

Enlarged version of Adelmann's thesis, Tübingen, issued under title: Der Einfluss der gotischen Formanschauung auf die Stellungs- und Bewegungsmotive des Manierismus.

Inaug.-Diss.--Albert-Ludwigs-Universität zu Freiburg i. Br. / Bibliography: p. 202-210.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The thesis Mannerist Tapestries in the Czech Republic is focusing on the topic of mannerist tapestries in the Czech Republic. So far this subject remains, in both czech and foreign professional literature, without any greater attention and if the topic is mentioned, the expressions "late renaissance", "mannerism" and "early baroque" are very often mixed. For this reason, it is necessary to define "mannerist tapestry", based on formal analysis, comparison and focusing on cultural-historical background. After this theoretical part, it will be possible to place certain tapestries to this very short art period or vice versa to exclude them. The main part is focused on mannerist tapestries from the castles, museums, ect. of the Czech Republic and their inclusion in the European context. Key words Mannerism, Tapestry, Decorative arts of the16th century, Art collections from the Czech Republic