571 |
Jacopo del Sellaio's Altarpieces for the Florentine OltrarnoDaly, Christopher R. 24 August 2015 (has links)
No description available.
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Political Art Censorship: A Productive PowerMantell, Emily 04 May 2017 (has links)
No description available.
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573 |
“The Critical Zone”: Compositional Elements of Communication in Makoto Fujimura’s Painting, 1994–2006DuCharme, Ann Case 28 June 2007 (has links)
No description available.
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574 |
Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949Berger, David S. 17 September 2012 (has links)
No description available.
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575 |
The art of Robert Smith Surtees; and its reflection of mid-Victorian EnglandChapman, Paul Hiram January 1946 (has links)
No description available.
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576 |
I am Louise's Inflamed Sense of Rejection: A Psychoanalytic Exploration of Louise Bourgeois' The Destruction of the FatherSullivan, Samantha N. 05 August 2016 (has links)
No description available.
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577 |
Greek Devotional Images: Iconography and Interpretation in the Religious ArtsRask, Katherine 26 June 2012 (has links)
No description available.
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Judith in Florentine Renaissance art, 1425-1512 /Knotts, Robert Marvin January 1995 (has links)
No description available.
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579 |
Mother of God, Cease Sorrow!: The Significance of Movement in a Late Byzantine IconBohlander, Ruth Ann January 2010 (has links)
The relationships between movement, emotion, and ritual communion in Byzantium have drawn the attention of art historians in recent years. While Henry Maguire has considered many facets of this subject, a monumental Late Byzantine icon, the Two-Sided Icon with the Virgin Pausolype, Feast Scenes, the Crucifixion and Prophets, suggests others. While the catalog entry by Annemarie Weyl Carr in Byzantium: Faith and Power remains the only published discussion of this particular icon, or even specifically of the Pausolype ("cease sorrow!") iconographic type, I believe that this image contributes significantly to our understanding of Late Byzantine culture and liturgical practice. Careful study of this particular icon encourages a consideration of the problematic subject of emotion, and its interactions with movement, ritual and art. The paucity of evidence makes it difficult to address specific devotional practices associated with this particular object, although some observations can be made. I am able, however, to align it with its iconographic antecedents and establish contemporary relationships, illuminating aspects of its original function. / Art History
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THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGNGlasscock, Ann Marie January 2012 (has links)
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society. / Art History
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