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Ġstanbul Teknġk Ünġversġtesġ Sosyal
ĠSTANBUL TEKNĠK ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ ĠNGĠLĠZ SANAT DERGĠLERĠNDE TÜRK SANATI (1903-2010 MAYIS) : KĠTAP TANITIM YAZILARI VE MAKALELER ÜZERĠNE GENEL BĠR DEĞERLENDĠRME YÜKSEK LĠSANS TEZĠ Neslihan DOĞAN Anabilim Dalı : Sanat Tarihi Programı : Sanat Tarihi Tez DanıĢmanı: Doç. Dr. Aygül AĞIR HAZĠRAN 2010 ĠSTANBUL TEKNĠK ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ ĠNGĠLĠZ SANAT DERGĠLERĠNDE TÜRK SANATI (1903-2010 MAYIS): KĠTAP TANITIM YAZILARI VE MAKALELER ÜZERĠNE GENEL BĠR DEĞERLENDĠRME YÜKSEK LĠSANS TEZĠ Neslihan DOĞAN (402941020) Tezin Enstitüye Verildiği Tarih : 26 Nisan 2010 Tezin Savunulduğu Tarih : 11 Haziran 2010 Tez DanıĢmanı : Doç. Dr. Aygül AĞIR (ĠTÜ) Diğer Jüri Üyeleri : Doç. Dr. Zeynep KUBAN (ĠTÜ) Yrd. Doç. Dr. Tarkan OKÇUOĞLU(ĠÜ) HAZĠRAN 2010 ÖNSÖZ Bu yüksek lisans tez çalışmasında İngilizlerin gözünden Türk sanatını incelemek amaçlanmaktadır. Bu döneme kadar akademik çalışmalarda Türk Sanatı farklı şekillerde ortaya konmuş ve değerli çalışmalar yapılmıştır. Batılı yabancı uzmanlar ve araştırmacılar tarafından yapılan birçok değerli araştırmalar günümüze kadar gelmistir. Osmanlı İmparatorluğu döneminden bu yana dünyadaki en büyük imparatorluklardan biri olan Britanya Krallığı ile geçmişten günümüze politik ilişkiler devam etmektedir. Bu tez sadece Britanya Krallığı olarakda adlandırılan İngiltere‟deki yayınevlerine ait İngiliz Sanat Dergileri ve bu dergilerde yayınlanan kitap tanıtım yazıları ve makalelerin incelenmesi ve değerlendirilmesi yolu ile bu dergilerdeki Türk Sanatı çalışmalarına odaklanmaktadır. Bu çalışmada -
The Art Union in England and the United States, 1840–60
Joy Sperling "Art, Cheap and Good:" The Art Union in England and the United States, 1840–60 Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002) Citation: Joy Sperling, “‘Art, Cheap and Good:’ The Art Union in England and the United States, 1840–60,” Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002), http://www. 19thc-artworldwide.org/spring02/196--qart-cheap-and-goodq-the-art-union-in-england-and- the-united-states-184060. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2002 Nineteenth-Century Art Worldwide Sperling: The Art Union in England and the United States, 1840–60 Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002) "Art, Cheap and Good:" The Art Union in England and the United States, 1840–60 by Joy Sperling "Alas, it is not for art they paint, but for the Art Union." William Thackeray, 1844[1] The "Art Union" was a nineteenth-century institution of art patronage organized on the principle of joint association by which the revenue from small individual annual membership fees was spent (after operating costs) on contemporary art, which was then redistributed among the membership by lot. The concept originated in Switzerland about 1800 and spread to some twenty locations in the German principalities by the 1830s. It was introduced to England in the late 1830s on the recommendation of a House of Commons Select Committee investigation at which Gustave Frederick Waagen, director of the Berlin Royal Academy and advocate of art unions, had testified. -
Stanley Kubrick's 18Th Century
Stanley Kubrick’s 18th Century: Painting in Motion and Barry Lyndon as an Enlightenment Gallery Alysse Peery Abstract The only period piece by famed Stanley Kubrick, Barry Lyndon, was a 1975 box office flop, as well as the director’s magnum opus. Perhaps one of the most sumptuous and exquisite examples of cinematography to date, this picaresque film effectively recreates the Age of the Enlightenment not merely through facts or events, but in visual aesthetics. Like exploring the past in a museum exhibit, the film has a painterly quality harkening back to the old masters. The major artistic movements that reigned throughout the setting of the story dominate the manner in which Barry Lyndon tells its tale with Kubrick’s legendary eye for detail. Through visual understanding, the once obscure novel by William Makepeace Thackeray becomes a captivating window into the past in a manner similar to the paintings it emulates. In 1975, the famed and monumental director Stanley Kubrick released his one and only box-office flop. A film described as a “coffee table film”, it was his only period piece, based on an obscure novel by William Makepeace Thackeray (Patterson). Ironically, his most forgotten work is now considered his magnum opus by critics, and a complete masterwork of cinematography (BFI, “Art”). A remarkable example of the historical costume drama, it enchants the viewer in a meticulously crafted vision of the Georgian Era. Stanley Kubrick’s film Barry Lyndon encapsulates the painting, aesthetics, and overall feel of the 18th century in such a manner to transform the film into a sort of gallery of period art and society. -