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painting style, which is greatly influenced by their brain and to a great extent by their actual visual acuity. If we consider the history of painting, different styles can be recognised. Very often, the question raised is whether this style is influenced

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Introduction Colour plays a key role in our appreciation of painted works of art. In paintings, the preparation of the paint layer and its resulting quality depends on the nature and quality and proportion of pigments used and

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Bann , “ Paul Delaroche's Early Work in the Context of English History Painting ”, in: Oxford Art Journal 29:3 (2006), pp. 341 – 69 . 7. Ibid. p. 347. 8

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Summary

The article discusses an enigmatic, anonymous painting deposited in the Museum of Fine Arts, Budapest. On grounds of style and with regard to the figures' attire it can be dated to the first third of the 17th century. Its master is supposedly German, who was both inspired by Italian Renaissance portraiture and the art of his 16th century German predecessors, Hans Holbein the Younger and Hans von Aachen. The painting can be regarded a double portrait coupled with a still life. It depicts possibly the painter himself, who, assuming the century-old role of the fools, mocks a man for his obesity. Taking also in consideration the frugal meal before him and the inconsistency of his clothes, it expresses the dichotomy between temperance and intemperance, Christian moderation and earthly abundance, vitaactiva and vitacontemplativa.

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–198. Schneider 1994 = Schneider N. The Art of the Portrait . Masterpieces of European Portrait-Painting 1420–1670 . Köln: Benedikt Taschen, 1994. Szabó 2010 = Szabó T. Сонечки и душечки. Литературные прототипы «Сонечки» Л. Улицкой

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Introduction Bark painting is an important art form in indigenous Australian society [ 1 ]. In addition to being culturally significant, such artworks are popular in national and international art collections. The increasing

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Genthon , István : Régi magyar festômûvészet [Old Hungarian Painting] , Budapest , 1932 . Gerevich 1923 Gerevich

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A multi-analytical approach to studying binding media in oil paintings

Characterisation of differently pre-treated linseed oil by DE-MS, TG and GC/MS

Journal of Thermal Analysis and Calorimetry
Authors: Ilaria Bonaduce, Leslie Carlyle, Maria Perla Colombini, Celia Duce, Carlo Ferrari, Erika Ribechini, Paola Selleri, and Maria Rosaria Tiné

of art. The particulars of paint formulation, including additives from colourmen as well as the artist, and the painting's subsequent environmental exposure all contribute to a series of variables that complicate the analysis of the data obtained

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Introduction An exposition of paintings of Valerio Castello took place in the year 2008 at the Palazzo Reale in Genoa, Italy [ 1 ]. At that time we carried out our study. The works of art considered were: Ratto di Proserpina

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Abstract  

This paper provides a comparative analysis of Marcel Duchamp's half-Cubist, half-Futurist painting Nude Descending a Staircase (1912) and Tom Stoppard's play Artist Descending a Staircase (1972). It examines the way in which Stoppard playfully temporalizes Duchamp's dynamic concept of space and confronts traditional and avant-garde positions of art. A continuation of After Magritte and an anticipation of Travesties, Stoppard's Artist Descending a Staircase is a brilliant series of contradictory caricatures voicing its author's often repeated and sometimes revised conviction: "In any community of a thousand souls there will be nine hundred doing the work, ninety doing well, nine doing good, and one lucky dog painting or writing about the other nine hundred and ninety-nine." (ADS, 144)

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