DOCSLIB.ORG

História Da Biologia E Natureza Da Ciência Na

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
História Da Biologia E Natureza Da Ciência Na Filipe Faria Berçot História da biologia e natureza da ciência na formação inicial de professores: uma sequência didática sobre reprodução animal no século XVIII nos estudos de Charles Bonnet e Abraham Trembley History of biology and nature of science in preservice teacher training: a teaching learning sequence on animal reproduction in the Eighteenth century in the studies of Charles Bonnet and Abraham Trembley São Paulo 2018 Filipe Faria Berçot História da biologia e natureza da ciência na formação inicial de professores: uma sequência didática sobre reprodução animal no século XVIII nos estudos de Charles Bonnet e Abraham Trembley History of biology and nature of science in preservice teacher training: a teaching learning sequence on animal reproduction in the Eighteenth century in the studies of Charles Bonnet and Abraham Trembley Tese apresentada ao Instituto de Biociências da Universidade de São Paulo, para obtenção do título de Doutor em Ciências, na área de Biologia Genética Orintadora: Profª Drª Maria Elice de Brzezinski Prestes São Paulo 2018 Berçot, Filipe Faria História da biologia e natureza da ciência na formação inicial de professores: uma Sequência Didática sobre reprodução animal no século XVIII nos estudos de Charles Bonnet e Abraham Trembley / Filipe Faria Berçot; orientadora Maria Elice de Brzezinski. --São Paulo, 2018. 349 f. Tese (Doutorado) – Instituto de Biociências da Universidade de São Paulo. Departamento de Genética e Biologia Evolutiva. 1. História da Biologia. 2. Natureza da ciência. 3. Sequência didática. 4. Charles Bonnet. 5. Abraham Trembley. I. Universidade de São Paulo. Instituto de Biociências. Departamento de Genética e Biologia Evolutiva II. Título. Comissão julgadora Prof. Dr. Prof. Dr Profa. Dra. Prof. Dr. Profª. Drª Maria Elice de Brzezinski Prestes Orientadora AGRADECIMENTOS À minha orientadora, Professora Doutora Maria Elice de Bzezinski Prestes, por toda atenção dispensada à pesquisa. Pelos inúmeros incentivos, pela amizade e carinho ao longo dessses anos de trabalho. Ao Agustín Adúriz-Bravo, professor da Universidade de Buenos Aires e coordenador do Grupo de Epistemologia, História e Didática das Ciências (GEHyD), pela acolhida junto ao seu grupo de pesquisa na Argentina, pelos conselhos, auxílio e suporte acadêmico. Ao CNPq, que subsidiou a pesquisa no Brasil e à CAPES, que possibilitou a dedicação e investimento de parte do trabalho no exterior. Aos colegas do LaHBE, pelas ricas discussões em seminários, pelas valiosas contribuições dadas à minha pesquisa. Aos licenciandos da USP e UNIFESP, que aceitaram, gentilmente, participar desta pesquisa. Aos meus pais, pelo estratosférico amor e carinho dado ao longo da minha existência sobre esse planetinha azul. À minha irmã, por sempre acreditar em mim. À Cínthia, por estar ao meu lado e suportar minhas crises de desespero. E a todos que contribuíram para o desenvolvimento desta tese, o meu mais sincero obrigado. Índice INTRODUÇÃO ........................................................................................................................ 7 Objetivos do estudo .................................................................................................................. 7 Objetivos específicos ............................................................................................................. 7 Motivações pessoais e delineamento da pesquisa .................................................................. 8 Das questões a investigar ....................................................................................................... 12 Organização da tese ................................................................................................................ 14 PARTE I: A PESQUISA HISTÓRICA ................................................................................ 17 CAPÍTULO 1 - A pesquisa histórica ..................................................................................... 17 1.1. Introdução .................................................................................................................... 17 1.2. Objetivos ....................................................................................................................... 17 1.3. Metodologia da pesquisa histórica ............................................................................. 18 1.3.1. Das fontes históricas ............................................................................................... 18 1.3.2. Da redação de um texto histórico ........................................................................... 21 CAPÍTULO 2 - Charles Bonnet (1720-1793) e os estudos sobre a multiplicação sem acasalamento em pulgões ....................................................................................................... 24 2.1. Questões de âmbito teórico e filosófico sobre a geração animal no século XVIII . 24 2.2. Dos recursos materiais e instrumentais ..................................................................... 28 2.3. Da comunicação e financiamento das pesquisas ....................................................... 29 2.4. Charles Bonnet, da formação às observações em história natural ......................... 32 2.4.1 Charles Bonnet e a história natural .......................................................................... 37 2.4.2 Bonnet, Réaumur e a insectologia ........................................................................... 40 2.4.3. O problema dos pulgões no século XVIII .............................................................. 42 2.4.4. Réaumur e a investigação do sexo em pulgões ...................................................... 46 2.4.5. Réaumur e os estudos sobre a multiplicação sem acasalamento ............................ 47 2.4.6. Charles Bonnet e as observações com pulgões ...................................................... 48 2.4.7. Bonnet e os estudos sobre a multiplicação sem acasalamento ............................... 51 2.4.8. As evidências da multiplicação sem acasalamento................................................. 53 2.4.9. As evidências contrárias à multiplicação sem acasalamento .................................. 55 2.4.10. Considerações gerais ............................................................................................ 61 CAPÍTULO 3. Animais, Plantas ou Animais-Planta? Os estudos de Abraham Trembley (1710-1784) e os pólipos de água doce ................................................................................... 65 3.1. Abraham Trembley (1710-1784) ................................................................................. 65 3.1.1. Trembley e os pólipos de água doce ....................................................................... 68 3.1.2. Comunicação entre Trembley e Réaumur .............................................................. 72 3.1.3. Um animal que brota? A forma “incomum” de reprodução dos pólipos ................ 74 3.1.4. Pólipos de água doce: dos aspectos anatômicos e fisiológicos da digestão ............... 79 3.1.5. Pólipos de água doce: a reprodução por brotamento .................................................. 86 3.1.6. Pólipos: vivíparos! E… ovíparos? .......................................................................... 88 3.1.7. Os pólipos: dos fossos à fama – considerações gerais ............................................... 92 PARTE II – A pesquisa empírica .......................................................................................... 96 CAPÍTULO 4 – Fundamentação teórica .............................................................................. 96 4.1. História da Ciência e Ensino de Ciências .................................................................. 96 4.1.1 Funções da História da Ciência na ciência .............................................................. 97 4.1.2 Funções da história da ciência no ensino de ciências .............................................. 99 4.1.3. Dificuldades da História da Ciência no ensino de ciências .................................. 100 4.1.4. História da ciência e a formação de professores .................................................. 101 4.1.5. História da Ciência e Natureza da Ciência ........................................................... 104 4.2. Estratégias e materiais de ensino ............................................................................. 113 4.3. Ensino por Investigação ............................................................................................ 115 4.3.1. Os “5E” ................................................................................................................. 116 4.4. Sequências Didáticas ................................................................................................. 119 4.5. Pesquisa Baseada em Design (DBR) ........................................................................ 120 CAPÍTULO 5. Desenvolvimento das estratégias e recursos ............................................. 124 5.1. Planejamento e construção da Replicação “física” de experimento histórico ..... 124 5.1.1. Replicação de experimento histórico, investigação e NdC .................................. 125 5.1.2. Dos recursos instrumentais e materiais da replicação .......................................... 126 5.1.3. Construção da Narrativa Histórica ....................................................................... 129 5.2. Objeto Virtual de Aprendizagem: Planejamento e construção dos protótipos .... 138 5.2.1. Objeto Virtual de
Load more

Recommended publications
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk IH. FÁAB0R6 KOBBERSTIKKEREN I F, CLEMENS D49-Í8SÍ i/VVWVWWVVV I C I 9 3 -H r.. V - . ■ j,, > .....j v ^i^ O g a S T , \1,?.. ‘s, - ' .,•-'i*', v^ S B l- - . » a ¡ t i * . ..' ■’.. ■ H M KOBBERSTIKKEREN F. CLEMENS 1749— 1831 '/' rj/ ~ ' I KOBBERSTIKKEREN J. F. CLEMENS 1749—1831 LIDT OM HANS LIV OG HANS VIRKSOMHED AF TH. FAABORG H.HVENEGAARD (WINKEL & MAGNUSSENS KUNSTFORLAG) KØBENHAVN 1918 i Nr. 238. J. F. C lemens KUNSTAK DEMIETS BISL OTHEK. OHAN FREDERIK CLEMENS havde i Sammenligning med den ligeledes tysk fødte P reisler — Sammenligningen ligger J nær — det Fortrin, at han kom til Danmark som ganske lille Dreng. Om Samtiden lagde Mærke til eller nogen Vægt paa den Forskel, som derved opstod i de to Kobberstikkeres Kunst, er tvivlsomt. Det var i hvert Fald ganske ubevidst. Men vor Tid glæder sig over Clemens’ troskyldige, godlidende og enkle Danskhed, som han med sin stilfærdige og beskedne Natur havde let ved at tilegne sig, og som ogsaa prægede de fleste, navnlig de bedste af hans Arbejder. Medens den halv­ andet Hundrede Aar ældre H a e l w e g h , der ikke alene var født i Danmark, men sikkert ogsaa det fremmedklingende Navn til Trods, havde en god dansk Herkomst, selvfølgelig ikke for- CITYTRYKKERIET • VALDEMAR CARLSEN • KØBENHAVN • maaede at lade noget nationalt ejendommeligt komme frem — 3 — i sine efter udprægede Nederlændere som van M and er og alene en Snes Portrætter, der ikke findes anført hos Fick, me­ W uc h ter stukne Blade, og medens Preisler i sin europæisk dens denne nævner nogle mindre vigtige, som savnes paa Ud­ virkende Elegance og maleriske Verve fremtræder som en stillingen.
    [Show full text]
  • Den Fraværende Utstillingshistorie Indhold
    209.qxp 01-12-2009 12:04 Side 1 NORDISK MUSEOLOGI 2009 ● 2 Indhold Dette nummer fortsætter med at have fokus på udstillingsmediets virkemidler og dets samspil med publikum. Der har været stor interesse for temaet, og de optagne artikler kommer ind på mange forskellige aspekter og rummer spændende og provokende synspunkter. Men temaet er dermed langt fra udtømt, og vi håber – som også Marc Maure, inviteret medredaktør og ophavsmanden til temaet, skriver i nedenstående forord – at Nor- disk Museologi hermed har skabt grobund for mere systematisk forskning i de nor- diske landes brug af udstillingsmediet, historisk og på tværs af landegrænser og fag. Ane Hejlskov Larsen Den fraværende utstillingshistorie MARC MAURE “Jag har många starka utställningsminne” skri- forsømt studiefelt; det gjelder internasjonalt, ver Eva Persson.1 ”Ibland önskar jag att jag kun- men med nasjonale variasjoner. Det finnes en de få dem historiskt belysta, insatta i svenskt mengde tekster av beskrivende karakter om och internationellt sammanhang. Men den utstillinger i museene, men analysene er man- boken över Sveriges utställningshistoria finns gelfulle. Vår kunnskap om feltet er sporadisk, intet. Om man anstänger sig kan man få ett fragmentarisk. Vi vet en del om enkelte insti- hum om utställningsutvecklingen i Sverige i tusjoner eller perioder, og lite om resten. Vi enskilda museers jubileumsskrifter och års- mangler dypere innsikt, forståelse om fenome- böcker.” net. Vi savner den systematiske oversikten Hva med de andre nordiske land? Har de over geografiske eller institusjonelle variasjo- skrevet sin egen utstillingshistorie? Jeg vil tro ner, de ulike genrene og stilene, m.v. at Sverige tross alt har gjort mest med hensyn Det er egentlig paradoksalt at museumsfolk til publikasjoner om utstillingsspørsmål.
    [Show full text]
  • Dem Der Ikke Magter Kunsten
    209.qxp 01-12-2009 12:04 Side 16 UDSTILLINGSFORMER- OG TYPER ● NORDISK MUSEOLOGI 2009 ● 2, S.16-28 Dem der ikke magter kunsten Konflikter omkring kunstoplevelsen ved de første offentlige kunstudstillinger i Danmark PETER STORM HANSEN* Title: Those who cannot deal with art. Abstract: The exhibitions held by The Royal Danish Academy of Fine Arts in the latter half of the eighteenth century laid the basis for the subsequent practice of pu- blic art exhibitions in Denmark. The lack of a general background for this new activity, in the form of a broadly accepted framework of understanding, involved a sense of openness that proved attractive for people of very different kinds. This article shows how the artists of that time attempted to manage the public con- ditions and context for art by promoting one particular art experience, and limit others. This practice was especially aimed at excluding the lower classes, whose understanding of art was considered incompatible with that of the artists. Key words: Art exhibition, The Royal Danish Academy of Fine Arts, 1750- 1800, audience, spectator, beholder, power relations. Der synes at være en tilbøjelighed til, at et tilsnigelse, eftersom etableringen af den of- samfunds indretning med tiden opnår et skær fentlige kunstudstilling, i begrebets moderne af selvfølgelighed. Det lægger sig fast, bliver en forstand, var et langstrakt forløb. Når jeg ka- del af udsynet; man vænner sig til dets logik rakteriserer forholdet således, er det fordi, at og tænker ikke nærmere over den – sådan er Akademiets udstillinger lancerede en ramme det nu engang. Men tingenes tilstand er sjæl- omkring kunsten med en principiel tilgænge- dent så selvfølgelig.
    [Show full text]
  • Athanor Cover.Indd
    Painting Instruction: C. W. Eckersberg and Artistic Labor in the Danish Golden Age Leslie Anne Anderson Until the appointments of Professors Christoffer Wilhelm Jørgen Sonne (1801-1890).4 In addition, Eckersberg’s private Eckersberg (1783-1853) and Johan Ludvig Lund (1777- pupils — Constantin Hansen (1804-1880), Christen Købke 1867) in 1818, the ossified curriculum of the Royal Danish (1810-1848), Wilhelm Marstrand (1810-1873), Adam Mül- Academy of Fine Arts officially consisted of sketching plaster ler (1811-1844), Jørgen Roed (1808-1888), and Frederik casts of antique statuary, écorché sculptures, and artificially- Sødring (1809-1862) — made significant contributions to illuminated male models assuming heroic poses.1 During this genre as both painters and subjects.5 Shown at work or their tenure at the Academy, however, the two professors posed in the studio, these artists are often surrounded by a introduced supplementary tuition in painting from life under carefully selected sampling of tools and instructional aids. In natural light — a practice assimilated by Eckersberg and Lund this examination, it is argued that such artistic accoutrements in Jacques-Louis David’s Paris studio.2 In addition, private reference the respective methodologies of the sitters, who instruction under Eckersberg inaugurated plein-air sketching typically subscribed to Eckersberg’s artistic program. More excursions and specialized tutorials in the science of linear specifically, these objects often allude to and celebrate the perspective. Thus, Eckersberg’s
    [Show full text]
  • Abildgaard and Schadow in Copenhagen 1791, RIHA Journal
    RIHA Journal 0019 | 21 March 2011 "Man müsse keine Statue Equestre machen": Abildgaard and Schadow in Copenhagen 1791* Patrick Kragelund Peer-review and editing organized by: Danmarks Kunstbibliotek / The Danish National Art Library, Copenhagen Reviewers: Claudia Czok, Thomas Lederballe Abstract In connection with the project of erecting an equestrian statue for King Frederick the Great of Prussia, the Berlin sculptor Johann Gottfried Schadow was in the autumn 1791 sent on a research tour to the three Baltic capitals, Stockholm, St. Petersburg and Copenhagen. Here he studied and discussed similar recent projects with fellow artists, and brought reports back to Berlin on the equestrian statues by Pierre Hubert L'Archevêque and Johan Tobias Sergel (Gustavus Adolphus in Stockholm), by Étienne Maurice Falconet (Peter the Great in St. Petersburg) and by Jacques François Joseph Saly (Frederick V in Copenhagen). Documents not previously published throw new light on the contacts Schadow during these travels established with the Danish painter Nicolai Abildgaard, a contact, it is here argued, that strengthened Schadow's commitment to use a historically accurate, more realistic and less idealised stylistic idiom when depicting great figures from the national past. Contents Introduction Schadow's Baltic Tour Schadow's Ausführlicher Bericht Schadow's letter Frederick the Great in Copenhagen and Sokrates in Berlin Appendix I Appendix II Appendix III Introduction [1] A hitherto unpublished letter from the German sculptor Johann Gottfried Schadow (1764-1850)1 to the Danish painter Nicolai Abildgaard (1743-1809) throws new light on the friendship and shared artistic ideals of these two artists. The link between Schadow and Abildgaard was not of course unknown.
    [Show full text]
  • Introduction
    Introduction Ib Friis, Michael Harbsmeier and Jørgen Bak Simonsen This volume contains the proceedings of a symposi­ tions in 2011 were certainly not all academic. One of um held at the Royal Danish Academy of Sciences the motivations for the strong involvement of both the and Letters on the 27th and the 28th of October, 2011, Danish Ministry of Foreign Affairs and the Ministry of ENCOUNTERS to mark the 250th anniversary of the Royal Danish Ex­ Cultural Affairs was a severe political crisis between LOCAL pedition to Arabia. The title of the symposium was Denmark and a number of countries in the Middle 2 0 IJ • AND World views and local encounters in early scientific expeditions East, the so called “cartoon crisis”, which started in the 1750-1850, and the intention was to place the Royal autumn of 2005. In order to mitigate the mood of cri­ LETTERS Danish Expedition to Arabia in a broad context of ex­ sis and tension, which persisted even five years after it AND peditions and scientific travels between 1750 and 1850, first appeared, it was planned that many activities to EXPEDITIONS and to focus on the world views of the planners and celebrate Carsten Niebuhr and the Arabian Journey dur­ SCIENCES members the expeditions their ing take place the of a of series OF of and encounters with 2011 should in capitals SCIENTIFIC cultures and nature other than the European. Near Eastern countries that had been visited by the The symposium was part of a series of events in expedition 250 years ago. In addition a complete ACADEMY EARLY • Denmark and in various places in the Middle East to translation into Arabic of Carsten Niebuhr’s pub­ 4 -2 DANISH celebrate the Danish expedition which in the eight­ lished travel accounts was contemplated at that time.
    [Show full text]
  • RAR, Volume 28, 2012
    The RUTGERS ART REVIEW Published by the Graduate Students of the Department of Art History Rutgers, The State University of New Jersey Volume 28 2012 ii Copyright © 2012 Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN 0194-049X RUTGERS ART REVIEW 28 (2012) iii Rutgers Art Review Volume 28 Editors Lauren Kane, Kira Maye, and Melissa Yuen Editorial Board Sara Berkowitz Stephen Mandravelis Seraphina Ferraro Mary Manning Natalie Fleming Robyn Radway Allison Harbin Randi Ragsdale Lauren Henning Tashima Thomas Proofreaders Isabel Bartolome Alexis Jason-Mathews Catherine Kupiec Mary Manning Kirsten Marples Tanya Sheehan Kathleen Sullivan Faculty Advisor Tanya Sheehan TheRutgers Art Review (RAR)is an annual journal produced by graduate students in the Department of Art History at Rutgers University. The journal is dedicated to pre- senting original research by graduate students in art history and related fields. For each volume the editors convene an editorial board made up of students from the department and review all new submissions. The strongest papers are then sent to established scholars in order to confirm that each one will contribute to existing scholarship. Articles appearing in RAR are abstracted and indexed online in America: History and Life, ARTbibliographies Modern, the Avery Index to Architectural Periodicals, BHA (Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is distributed by subscription to over one hundred many of the finest uni- versity, museum, and public libraries in North America and Europe. This is the last printed volume of the Rutgers Art Review.
    [Show full text]
  • The Jew That Disappeared: C.W. Eckersberg and the Realm of Satire
    ARTICLE The Jew that Disappeared: C.W. Eckersberg and the Realm of Satire Eckersberg’s satire on the subject of playing the lottery underwent a significant change from drawing to graphic series; an alteration that might have saved him from compromising his career. By Anna Schram Vejlby / Published June 2016 RESUMÉ From happy mediocrity to doom and gloom – that is the result of not sticking to one’s last, according to the moral of the tale of a cobbler who wins the lottery. This essay looks at C.W. Eckersberg and J.F. Clemens’ six-print graphic series The Lottery Ticket (‘Lotterisedlen’), which was published in 1815-1816. The print series and original sketches provide insight into the economic conditions of the period, the scourge of the lottery, and the controversy surrounding the Jewish population of Copenhagen in 1813, which ended in physical violence in 1819-1820. ARTICLE C.W. Eckersberg (1783-1853) was still a student at the art academy in 1808 when he made the six drawings about the cobbler and the lottery ticket.1 He had come to Copenhagen from Southern Jutland in 1803, and had won both minor and major silver medals, as well as the minor gold medal in the competitions held regularly by the academy. He won all three in 1805, qualifying him to compete for the main gold medal. This was key, because it granted him access to a travel stipend, which would give the young artist the opportunity to complete his studies by visiting the antique masterpieces of Rome. The competition for the main gold medal was not held every year, but in 1807
    [Show full text]
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk DANSKE MALEDE PORTRÆTER EN BESKRIVENDE KATALOG UDGIVET AF C and. ju r is E. F . s . l u n d INSPEKTØR OG SEKRETÆR VED DET NATIONALHISTORISKE MUSEUM PAA FREDERIKSBORG SLOT y. BIND KJØBENHAVN GRÆBES BOGTRYKKERI 1906 Charlottenborg I A aret 1694. Jacob Coning pinx. fter det nye Kunstakademis Oprettelse 1754 synes der snart at have E dannet sig en Samling af Medlemmernes Portræter. Allerede 1758 bestemmer Akademiets Præses, Grev Adam Gottlob Moltke, at alle Akade­ miets „OflRcialium Portraiter maa vorde opslaaet i Academiets Bibliothèque“, og i Marts 1763 vedtages det at „en agreeret Portrait-Skildrers Receptions- stykker alletider skal være 2'*® af Officialium Portræter“. (Forsamlings og Deliberations Protocol for det kongl. danske Skildre, Bildhugger og Bygnings Academie A° 1760, S. 113). Indenfor Akademiets Samling af Receptions­ stykker vil den saaledes opstaaede Portrætsamling stedse bevare en særlig kunsthistorisk Betydning som Udtryk for, hvad de dygtigste Portrætmalere have formaaet. Der er saaledes god Grund til, at netop denne Samling kommer frem i „Danske malede Portræter“, og naar dette har kunnet ske, skyldes det dels Støtte fra Regjering og Rigsdag, dels Akademiets Anbefaling af Sagen. For begge Dele udtales her en oprigtig Tak, idet Udgiveren dertil knytter Haabet om, at andre offentlige Samlinger maa følge det givne Eksempel og Led føjes til Led, med det Formaal engang at naa til en fuldkommen Over­ sigt over den danske Portrætkunst.
    [Show full text]
  • Object Number: 8.1955.7 Department of Drawings
    Object Information Object Number: 8.1955.7 Department of Drawings Artist: Washington Allston, American (Georgetown, SC 1779 - 1843 Cambridge, MA) Title: Mensuration, Problem VI Date of Work: c. 1797-1799 Century: 19th century Media / Support: Brown ink on ivory laid paper Culture: American Place of Creation: Work Type: Drawing Dimensions: irregular: 23.6 x 19.2 cm (9 5/16 x 7 9/16 in.) framed: 48.6 × 38.4 × 3.8 cm (19 1/8 × 15 1/8 × 1 1/2 in.) Credit Line: Harvard Art Museums/Fogg Museum, Loan from The Washington Allston Trust Authorities: 1977, Kenyon Castle Bolton, III: See The Drawings of Washington Allston, Bolton's 1977 PhD dissertation, for information on related works and the dating of this drawing Kenyon Castle Bolton, III: 1977 See The Drawings of Washington Allston, Bolton's 1977 PhD dissertation, for information on related works and the dating of this drawing. Bibliography: "Allston at Harvard 1796 to 1800", Cambridge Historical Society. Publications, Proceedings for the Year 1943, vol. 29, Cambridge, MA, 1948, ill. p. Author: Henry Wadsworth Longfellow Dana "Washington Allston at Harvard", Harvard Alumni Bulletin, vol. 58, no. 13, Cambridge, MA, April 21, 1956, p. 551 Author: Thomas W. Leavitt The Drawings of Washington Allston: A Catalogue Raisonné, unpublished (Harvard Art Museum Archives), 1977, no. 215D, reproduced in b/w fig. 540; verso, no. 215C, fig. 539 Author: Kenyon Castle Bolton, III "A Man of Genius": The Art of Washington Allston (1779-1843), Boston, MA, 1979, p. 206, fig. 74 Author: William H. Gerdts, Theodore E. Stebbins, Jr. Publisher: Museum of Fine Arts, Boston Curatorial Notes: The Washington Allston Trust was maintained by the Dana family to keep as many Allston works together as possible.
    [Show full text]
  • Billedhuggeren Johannes Wiedewelt
    SLÆGTSFORSKERNES BIBLIOTEK Dette værk er downloadet fra Slægtsforskernes Bibliotek Slægtsforskernes Bibliotek drives af foreningen Danske Slægtsforskere. Det er et privat special-bibliotek med værker, der er en del af vores fælles kulturarv omfattende slægts-, lokal- og personalhistorie. Støt Slægtsforskernes Bibliotek - Bliv sponsor Som sponsor i biblioteket opnår du en række fordele. Læs mere om fordele og sponsorat her: https://slaegtsbibliotek.dk/sponsorat Ophavsret Biblioteket indeholder værker både med og uden ophavsret. For værker, som er omfattet af ophavsret, må PDF-filen kun benyttes til personligt brug. Videre publicering og distribution uden for husstanden er ulovlig. Links Slægtsforskernes Bibliotek: https://slaegtsbibliotek.dk Danske Slægtsforskere: https://slaegt.dk FR. J. MEIER: EFTERRETNINGER OM BILLEDHUGGEREN JOHANNES WIEDEWELT OG OM KUNSTAKADEMIET PAA HANS TID. Lith ef ler Als’Maleri paa Rosenborg. I .W. Tegner i. Kittendoïff3 lifh In si EFTERRETNINGER OM BILLEDHUGGEREN JOHANNES WIEDEWELT OG OM KUNSTAKADEMIET PAA HANS TID. ET BIDRAG TIL DEN DANSKE KUNSTHISTORIE, AF FR. J. MEIER. (for störste delen efter utrykte kilder). MED JOHANNES WIEDEWELTS PORTRÆT. KJØBENHAVN. HOS C. A. REITZE li. TRYKT HOS NIELSEN & LYDICHE. 1877. Det filosofiske Fakultet har kjendt denne Afhandling værdig til offentlig at forsvares for den filosofiske Doktorgrad. Den 14. Juli 1877. S. Heegaard, d. A. Dec. fac. phil. Indhold Indledning. Kunsten i Slutningen af det 17. og i Be­ gyndelsen af det 18. Aarhundrede. — Barokstilen, — Ovalen, — „den skjønne Natur“,— Bernini, — Coustou, — Reaktion, — Pompeji. — Winckelmann, — Kunsten i Danmark ved Be­ gyndelsen af den nyere Tid, — og i Begyndelsen af det 17. og 18. Aarhundrede, — saa godt som ingen Billedhuggere, — Grunden til Kunstens ringe Trivsel, — Savn af et Kun­ stens Akademi, — fornemme Bygmestere, — Krogk, — Gercken, Sturmberg, Ebisch.
    [Show full text]
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk ¡il, Í '■*ï; '•y :i%i ,2 *••>'■ ^•' ■ ' •. '■ .rv.% -.¿¿i ?■:?•’.; ^'-fiÇ-*- -*r~.y .'i > -■■ ,. ,\.i- V' DEN DANSKE KUNSTNER-STAT. UDGIVEN I ANLEDNING AF AKADEMIETS DIINDREDEAARSFEST, Den 31. Marts 1854, AF . ' C '■ j iti AKADEMIETS SECRETAIR. KIØBENHAVN. THIELES BOGTRYKKERI 1854. DET KONGELIGE KUNSTAKADEMIS BIBLIOTEK J Y 1 1738 oprettede Kong Christian den Siette "Et Maler- og Skildrer- Academié\ først under Hofmaler Kroclts, siden under Oberst Nicolai Eigtveds, Direction. Professorerne vare: Maleren Miani, Billedh. iom s Aug. le Clerc^ Billedh. Joh. Chr. Petzold og Marcus Tuscher.^ som øvede forskiellige Kunster. Dette Akademie havde Locale ”i det gamle Post- huus” bag Børsen, formodentlig den saakaldte Lerckes Gaard. I 1754 lod Kong Frederik den Femte disse Kunstskoler fi3rtte til Charlottenborg Slot, stillede dem under Grev Adam Gottlob Moltkes Præsidio, og gav dem under 31te Marts 1754 en Fundation og Navnet: "Det Kongl. Skildre- , Billedhugger- og Bygnings-Akademie.” Oberst Eigtved var paa den Tid Directeur. Professorerne vare, foruden de nævnte, le Clerc og Petzold., Hofmaler Carl Gustav Pilo, Kobberstikkeren Joh. Martin Preisler og Billedhuggeren Simon Carl Stanley, Secretairen Chr. Æmilius Biehl. Dagen for Akademiets Stiftelse indsattes ”Den Kongl. Franske Hofbilledhugger Jacques François Joseph Saly”, ikke blot som Professor, men som designeret Directeur. Hans første Virksomhed i Akademiet skyldes det Grundlag, livorpaa de senere, under Aarenes Løb, udarbeidede og fastsatte Reglementer for Bestyrelse og indre Orden ere byggede. Akademiet havde oprindeligt intet Fond, men til dets Fornøden­ heder, deriblandt Udredelsen af aarlige Reisestipendier, havde Fundator bestemt en aarlig Sum af 2400 Rdl.
    [Show full text]