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The liturgical planning of Byzantine churches in CappadociaTeteriatnikov, Natalia. January 1996 (has links)
Originally presented as the author's Thesis (Ph. D.)--New York University, 1987. / Includes bibliographical references (p. [9]-16) and indexes.
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The icon of the Madonna Della Clemenza patronage, placement, purpose /Matos, Michael Anton. Hahn, Cynthia J. January 2005 (has links)
Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. Cynthia Hahn, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vii, 70 pages. Includes bibliographical references.
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The Church of St. Panteleimon at Nerezi architecture, programme, patronage /Sinkević, Ida, January 2000 (has links)
Thesis (doctoral)--Princeton, 1994. / Includes bibliographical references (p. [202]-109) an index.
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Church interior aesthetics : the effects of interior aesthetics, within a worship environment, on the attendance of an 18 to 25 age population /Beauchamp, Amy Michelle. January 2008 (has links) (PDF)
Thesis (M.F.A.), Design--University of Central Oklahoma, 2008. / Includes bibliographical references (leaves 64-68).
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The liturgical planning of Byzantine churches in Cappadocia /Teteriatnikov, Natalia. January 1996 (has links)
Originally presented as the author's thesis (Ph. D.)--New York University, 1987. / Includes bibliographical references (p. [9]-16) and indexes. Also issued online.
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The liturgical planning of Byzantine churches in CappadociaTeteriatnikov, Natalia. January 1996 (has links)
Originally presented as the author's thesis (Ph. D.)--New York University, 1987. / Includes bibliographical references (p. [9]-16) and indexes.
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The Cinquecento chapel decorations in S. Maria in Aracoeli in RomeHeideman, Johanna Elfriede Louise, January 1982 (has links)
Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1982. / In English, with summary in Dutch. Includes bibliographical references and index.
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Patrimoines irréguliers en France et en Italie : origines, artification, regard contemporain / Irregular heritages in France and in Italy : origins, artification, contemporary wievTrapani, Roberta 28 June 2016 (has links)
Depuis les années 1930, un lent processus d’« artification » investit des lieux de vieembellis par leurs propres habitants avec des techniques improvisées. Considérés àl’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par lessurréalistes, qui amorcent leur documentation. Dans l’après-guerre, ils connaissent uneréception de plus en plus enthousiaste au sein de certains milieux artistiques et serontannexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, àl’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Cesenvironnements irréguliers seront alors considérés souvent comme l’expressionspontanée d’impulsions intérieures, sans influences ni tradition. Cette thèse propose derevenir aux origines de cette forme artistique, en révélant le mouvement circulaire qui larelie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels del’histoire de l’art contemporaine. Elle examine également les conditions de sa réceptions,dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste,avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années1970, marquent un renouvellement du regard. Tout au long, les environnementsirréguliers sont questionnés dans leur faculté à associer des notions fondamentales –art, culture, marginalité, architecture, grotesque, baroque, ornemental, entre autres – età être saisis comme un outil opératoire désignant une forme d’authenticité artistique ouculturelle. / Since the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity.
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Improvement and the Scottish rural estate : Sir Archibald Grant at Monymusk, 1715-1778Doroszenko, Rebekah January 2015 (has links)
The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, the relationship between his role as a publically acknowledged improver and his patronage of art and architecture, as well as his attempts at publication, has not been subject to similar interest. This thesis uses an innovative interdisciplinary approach which draws on archaeological as well as art historical methodologies. It discusses a wider range of estate commissions, in particular Grant’s patronage of the portrait artists John Smibert and William Robertson, the poet John Ogilvie, his commission of the architectural surveyors Alexander Jaffray and Robert Robinson, as well as his work to construct planned villages at Kirktown of Monymusk and Archiestown. The thesis attempts to place these commissions within the context of recent studies of improvement which emphasize its role as an ideology with cultural implications. The use of an individual case study allows for a more in depth discussion of specific reactions to historical and ideological change, providing a narrative of a specific site and thus creating an individual response towards broader cultural and scientific developments.
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OBJETOS GRAVADOS: UMA EXPERIMENTAÇÃO POÉTICA A PARTIR DA TÉCNICA DE GRAVURA EM METAL / TRAMPLED OBJECTS: A POETIC EXPERIMENT ORIGINATED IN THE TECHNIQUE OF INTAGLIOPinto, Luciana Estivalet 27 March 2012 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research explores metal sheet carving from the technique of intaglio. Each
"trampled object" is inspired by the study of medieval illuminations images (from the
tenth century to the fifteenth century), where the ornament is the focus of artistic
creation. In this dissertation, I present my understanding of the term "intaglio" and I
define my plastic work as "trampled objects" because using the nomenclature
"matrix" requires a series of procedures that are ignored by me at the moment,
namely, the imprinting of copies. However, I develop the technique of intaglio using
metal sheets of copper and yellow brass, which are displayed directly to the public, in
other words, without the traditional pattern of the resulting imprinting. Contemporary
visual artists who also exhibit metal sheets [Laurita Salles (1952), Ana Alice
Francisquetti (1955) and Otilia Carrique (1954)] are quoted and used to point out the
central question guiding this research: the possibility of making metal sheets, which
were seen as part of the process of intaglio, come to aesthetics fruition. I briefly
comment on some relations of illuminations with the work developed, as it is inspired
by medieval ornaments. I analyze some points of interest in the history of illumination
and also comment on some contemporary paradigms of art from the thought of Yves
Michaud (2008) mainly. Finally, I display to the reader the works developed during
this survey. I also broach about the technical elaboration of the works, reporting all
the way traced in the atelier, and argument on each of the four sets of engraved
objects created (Pequenos Portais, Detalhes Iluminados, Citações Medievais and
Filigranas), comparing them to images of some illuminations studied. / Esta pesquisa explora a gravação de chapas metálicas a partir da técnica da gravura
em metal. Cada objeto gravado é inspirado no estudo de imagens de iluminuras
medievais (desde o século X até o século XV), onde o ornamento é o foco da
criação plástica. Nesta dissertação, apresento a investigação sobre o termo
gravura e catalogo os trabalhos desenvolvidos como objetos gravados , pois
aderir à nomenclatura matriz requer uma série de procedimentos que não são
salientados neste momento, a saber: a impressão de cópias. Todavia, desenvolvo
na técnica da gravura em metal a gravação de chapas de cobre e latão amarelo que
são expostas diretamente ao público, ou seja, sem a tradicional estampa resultante
da impressão. Algumas gravadoras contemporâneas que também trabalham com a
exposição de chapas de metal são citadas: Laurita Salles (1952), Ana Alice
Francisquetti (1955) e Otilia Carrique (1954), através delas aponto a questão central
norteadora da pesquisa, que é a possibilidade de fruição estética através da
materialidade das chapas metálicas que antes eram vistas apenas como uma etapa
do processo da gravura. Brevemente, comento algumas relações das iluminuras
com o trabalho desenvolvido, já que este é inspirado nos ornamentos medievais.
Analiso alguns pontos de interesse na história da iluminura e alguns paradigmas
contemporâneos da arte a partir do pensamento de Yves Michaud (2008),
principalmente. Por fim, apresento os trabalhos desenvolvidos durante a pesquisa,
discorro sobre o processo técnico de elaboração das obras, relato todo o percurso
traçado em ateliê; e argumento sobre cada uma das quatro séries de objetos
gravados criadas: Pequenos Portais, Detalhes Iluminados, Citações Medievais e
Filigranas, comparando-as, em alguns momentos, com as imagens de algumas
iluminuras estudadas.
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