Thesis (Ph. D.)--Universiteit van Amsterdam, 2004. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 299-331).

Thesis--Munich. / Vita. Includes bibliographical references.

No description available.

Thesis (Ph. D.)--University of London, 1978. / Includes bibliographical references (p. 391-409).

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Jack Freiberg, Florida State University, College of Visual Arts, Theatre, and Dance, Art History Dept. Title and description from dissertation home page (viewed Jan. 12, 2006). Document formatted into pages; contains vi, 245 pages. Includes bibliographical references.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T07:29:18Z (GMT). No. of bitstreams: 1 Accorsi_RobertoAparecidoZaniquelli_M.pdf: 7996410 bytes, checksum: 5ec8b451dc3d6a8db56e7f8da4cacddc (MD5) Previous issue date: 2011 / Resumo: Sebastiano Ricci tornou-se um pintor de especiais e particulares ações nos mercados de artes de Veneza e da Inglaterra, durante o século XVIII. Ele soube agir como artista e negociador e conseguiu relacionar-se com os principais mecenas do período, em especial com dois dos mais importantes difusores da sua arte: Joseph Smith, Cônsul inglês, e Francesco Algarotti, Conde veneziano - ambos ligados ao processo de difusão e discussão dos princípios racionais associados ao iluminismo europeu. Em cartas enviadas e recebidas pelo artista, e por alguns de seus mecenas, nota-se uma variada abordagem dos meios de compra e venda de obras e arte. As cartas também revelam uma valorização ou redescoberta dos modos e temas da arte de Paolo Veronese, reconhecíveis na obra de Sebastiano Ricci intitulada Arquimedes se recusa a seguir o soldado, pertencente a Fundação Cultural Ema Gordon Klabin, de São Paulo / Abstract: Sebastiano Ricci became a painter of special and private actions around the market of arts from Venice and England, during the XVIII century. He has known how to act as an artist and a negotiator and could relate himself with the main Maecenas of this period, especially with two of the most importants diffusers of his art: Joseph Smith,British Consul, and Francesco Algarotti,Venetian Earl - both connected with the process of propagation and discussion of the rational principles associated with the European Enlightenment. Analyzing letters that were sent and received by the artist and for some of his maecenas, is possible to realize a variety of approach about sorts of arts marketing. These letters show a recovery or a rediscovery about modes and themes of Paolo Veronese's art which can be recognized in the work of Sebastiano Ricci entitled Arquimedes se recusa a seguir o soldado, that belongs to Fundação Cultural Ema Gordon Klabin / Mestrado / Historia da Arte / Mestre em História

Over the course of the fifteenth and sixteenth centuries, canvas substituted panel or wall as the preferred support for painting in Venice, moving from the periphery to the core of artmaking. As it did so, canvas became key to the artistic processes and novel pictorial language developed by painters like Titian, Tintoretto and Veronese. Sixteenth-century critics associated canvas with painting in Venice, a connection that has persisted to become a veritable trope of Venetian art history. Despite this, we have hitherto lacked a convincing account of Venetian canvas supports and their impact. This dissertation, by examining the adoption, development, and significance of canvas in Venetian art over the period 1400 to 1600, attempts to provide one. Approaching canvas from multiple perspectives, this project offers a deeper understanding of what early modern canvas was at a material level, how it was made and supplied to painters, and its catalyzing role in early modern Venetian art. By tracing precisely how canvas operates within paintings, focusing on lodestar examples whilst drawing on extensive and intensive object-based research carried out on a large corpus, this thesis demonstrates how actively canvas participated in the elaboration of the pictorial poetics of mature Cinquecento art in Venice. It argues that we owe the existence of this distinctive artistic idiom in no small part to the twist of a yarn, the roughness of a thread, the thickness of a stitch. Canvas was critical to both the making and the meaning of these pictures. The wider aims of the project are twofold: on the one hand, to model a methodology that integrates approaches such as visual, textual, and sociocultural analysis with technical art history and conservation-informed comprehension of the materially altered nature of art objects; on the other, to contribute to an account of the history of an art form—the canvas picture—that still occupies a central role in the global art world today.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)

Thesis (Ph. D.)--Yale University, 1992. / Fourteen unnumbered p. containing figures 1-25 have not been filmed at the request of the author. Includes bibliographical references (leaves 222-227).

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)