DOCSLIB.ORG

Art &Architectural History

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art &Architectural History Art & Architectural History The Age of Opus Anglicanum Colour A Symposium The Art and Science of edited by Michael A. Michael Illuminated Manuscripts The essays included here break new by S. Panayotova ground in the understanding of both The focus of the exciting and innova- liturgical and secular embroidery, tive exhibition to which this is the covering topics such as interesting companion volume is on color: it iconographic aspects found in Opus demonstrates and explains the acqui- Anglicanum; hitherto unpublished Limited quantity sition and chemistry of pigments, the data from the royal accounts of Edward Available while stocks last basic materials and constitution of the III related to commissions and pay- artist’s color palette, the technique ments to embroidery specialists and a detailed study of late medieval English and art of their application by the illuminator, and finally the understanding palls accompanied by a Handlist of the major extant examples. and aesthetic impact on the viewer. 240p, over 200 col illus (Harvey Miller Publishers, October 2016, Studies in 420p, 414 col illus (Harvey Miller Publishers, June 2016, Studies in Medieval and English Medieval Embroidery 1) hardcover, 9781909400412, $143.00. Early Renaissance Art History) paperback, 9781909400573, $65.00. Special Offer $115.00 Special Offer $52.00 Works in Collaboration Portraits After Existing Prototypes Jan Brueghel I & II by Koenraad Jonckheere by Christine van Mulders Rubens was mesmerized by faces. He studied physiognomy, Peter Paul Rubens and Jan Brueghel the Elder were collabo- which postulated that a person’s character could be read rating as painters as early as c. 1598, before Rubens’s stay in from their facial features. His best portrait copies, thus, are Italy, but the most important period of their alliance spans not strictly copies but rather studies in which art history, from 1609 to 1621. The collaborative oeuvre of Rubens and craftsmanship, literature and theory merge into an emula- Brueghel can be roughly divided into three groups: Madonnas tion of art and nature. They are works in which the artist was in garlands of flowers, interiors with allegories, and land- looking for man in all of his myriad facets, and the perspec- scapes with mythological and religious themes. tives art afforded to better understand man. 360p, 40 col & 120 b/w illus (Harvey Miller Publishers, 340p, illus (Harvey Miller Publishers, December 2016, October 2016, Corpus Rubenianum Ludwig Burchard 27.1) hardcover, 9781909400436, $195.00. Corpus Rubenianum Ludwig Burchard 19.4) hardcover, Special Offer $156.00 9781909400580, $195.00. Special Offer $156.00 70 Enterprise Drive, Suite 2 • Bristol, CT 06010, USA Distributor of phone: (+1) 860 584 6546 • fax: (+1) 860 516 4873 Scholarly Books www.isdistribution.com • [email protected] Drawing and the Senses Pleasure and Politics An Early Modern History at the Court of France by Caroline Fowler The Artistic Patronage of Queen Jusepe Ribera, Guercino, Stefano Marie de Brabant (1260–1321) della Bella, Abraham Bloemaert, and by Tracy Hamilton Peter Paul Rubens all created printed For her commissioning and perfor- drawing lessons dedicated to the mance of a French vernacular version practice and theory of drawing. As of the Arabic Tale of the Thousand and this book argues, these were not only One Nights, as well as for her numerous pedagogical treatises on practice but other commissions, Queen Marie de also theoretical works on draftsman- Brabant (1260–1321) was heralded ship made by the most influential European draftsmen. This book is the first as a literary and intellectual patron comparable to Alexander the Great theoretical consideration of these major works. Reading these treatises in and Charlemagne. Nevertheless, classic studies of the late medieval period the context of an early modern intellectual history of the senses, the book understate Marie’s connection to the contemporary rise of secular interests at examines how artists visually theorized the process of producing knowledge the French court. By reshaping the inquiry into court patronage, this volume through making lines on a page. Beginning with the pedagogical treatises of posits that the historical record reveals exciting and important contributions Albrecht Dürer and progressing through the pedagogical writings, drawings, Marie de Brabant made to this burgeoning secular court. This emerging and printed drawing books of early-modern draftsmen, this book traces a importance of the secular and redefinition of the sacred during these last history of the senses and drawing, demonstrating how shifting concepts of decades of Capetian rule becomes all the more striking when juxtaposed to the body, divinity and god changed the processes by which artists conceived the pious tone of the lengthy reign of Louis IX. of drawing the world, themselves and others. 300p, illus (Harvey Miller Publishers, March 2017, Studies in Medieval 300p, 20 col & 80 b/w illus (Harvey Miller Publishers, January 2017, Studies in and Early Renaissance Art History 64) hardcover, 9781905375684, Baroque Art 6) hardcover, 9781909400399, $151.00. Special Offer $121.00 $133.00. Special Offer $107.00 Eye and Art in Ancient Greece Felsina Pittrice Studies in Archaeoaesthetics Life of Marcantonio Raimondi and Critical Catalogue of Prints by Christopher Witcombe by or after Bolognese Masters This volume examines the art of ancient Greece through reconstructions of by Carlo Cesare Malvasia, edited by Elizabeth Cropper how the Greeks saw and understood the products of their own visual culture. and Lorenzo Pericolo The material is approached using a newly developed methodology of ar- chaeoaesthetics by which past modes of vision and perception are examined Malvasia’s life of Marcantonio Raimondi includes Malvasia’s critical cata- in conjunction with prevailing notions of pleasure and judgment with the logue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan purpose of identifying the visual and psychological contexts within which Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia the aesthetics of a culture emerge. Through a wide-ranging examination of recognizes the intelligence and novelty inherent in Giorgio Vasari’s life of ideas found in early written sources, the book examines various key aspects of Marcantonio with its list of prints produced by the Bolognese engraver. Aware Greek visual culture, such as continuity and change, nudity, identity, lifelike- of the interest of amateurs and collectors in identifying old and new prints, ness, mimesis, personation and enactment, symmetria, dance, harmony, establishing their states, and building up an exhaustive collection, Malvasia and the modal representation of emotions, with the aim of comprehending undertakes the groundbreaking task of describing the whole corpus of prints how and why choices were made in the conception and making of artifacts. executed by or after Bolognese masters as far as he could determine. He Special attention is given to factors contributing to the formation of taste and describes the subjects of these works accurately, transcribes their inscriptions, the emergence and transmission over time of concepts of art and beauty and specifies their techniques, supplying their measurements in Bolognese once. the means by which they were identified and judged. 2 vols, 700p, 850 col illus (Brepols Publishers, February 2017, Felsina Pittrice: The Lives of the Bolognese Painters 2) hardcover, 250p, illus (Harvey Miller Publishers, March 2017, Eye and Art) hardcover, 9781909400665, $301.00. Special Offer $241.00 9781909400030, $97.00. Special Offer $78.00 2 www.isdistribution.com Quote promotional code 795–17 for Special Offers (+1) (860) 584 6546 Birds, Other Animals and Natural Curiosities by Henrietta McBurney, Paula Findlen, Caterina Napoleone, Ian Rolfe and Arthur MacGregor This catalogue brings together some of the finest natural history drawings executed for Cassiano. Cassiano had a particular inter- est in ornithology, and birds are thus the best-represented members of the animal kingdom in this group. Other drawings of fauna catalogued here include mammals, fishes and crustaceans. Like the bird drawings, many are drawn with painstaking attention to detail and scale, a complete specimen drawn on a reduced scale to fit the sheet, with anatomical details depicted life size. The drawings of mineral specimens and other natural curiosities depict the sort of item commonly found in seventeenth-century collectors’ cabinets. 2 vols, 864p, 314 col illus (Brepols Publishers, February 2017, The Paper Museum of Cassiano dal Pozzo. Series B: Natural History 4) hardcover, 9781909400603, $213.00. Special Offer $171.00 The Antichità Diverse Album The Print Collection of Cassiano dal Pozzo. I by Elena Vaiani Ceremonies, Costumes, Portraits and Genre Cassiano’s Antichità Diverse album by Mark McDonald survives almost intact in the Royal Library Cassiano dal Pozzo’s print collection was unique in its scope and organization. at Windsor Castle. It is a compendium Some 3,000 prints are known, in nine albums and many loose impressions of pen-and-wash drawings of Roman mainly divided between the British Library and the Royal Library at Windsor antiquities, including jewelry, amulets, Castle. The material he collected was essentially documentary, and he orga- weights and measures, vases and lamps, nized the collection by subject matter. This first part of the full print catalogue tripods,
Load more

Recommended publications
  • Ceramics in Portuguese Architecture (16Th-20Th Centuries)
    CASTELLÓN (SPAIN) CERAMICS IN PORTUGUESE ARCHITECTURE (16TH-20TH CENTURIES) A. M. Portela, F. Queiroz Art Historians - Portugal [email protected] ABSTRACT The purpose of this paper is to present a synoptic view of the evolution of Portuguese architectural ceramics, particularly focusing on the 19th and 20th centuries, because the origins of current uses of ceramic tiles in Portuguese architecture stem from those periods. Thus, the paper begins with the background to the use of ceramics in Portuguese architecture, between the 16th and 18th centuries, through some duly illustrated paradigmatic examples. The study then presents examples of the 19th century, in a period of transition between art and industry, demonstrating the diversity and excellence of Portuguese production, as well as the identifying character of the phenomenon of façade tiling in the Portuguese urban image. The study concludes with a section on the causes of the decline in the use of ceramic materials in Portuguese architecture in the first decades of the 20th century, and the appropriation of ceramic tiling by the popular classes in their vernacular architecture. Parallel to this, the paper shows how the most erudite route for ceramic tilings lay in author works, often in public buildings and at the service of the nationalistic propaganda of the dictatorial regime. This section also explains how an industrial upgrading occurred that led to the closing of many of the most important Portuguese industrial units of ceramic products for architecture, foreshadowing the current ceramic tiling scenario in Portugal. 1 CASTELLÓN (SPAIN) 1. INTRODUCTION In Portugal, ornamental ceramics used in architecture are generally - and almost automatically - associated only with tiles, even though, depending on the historical period, one can enlarge considerably the approach, beyond this specific form of ceramic art.
    [Show full text]
  • Rafael Bordalo Pinheiro, a Portuguese Art Nouveau Artist Rita Nobre Peralta, Leonor Da Costa Pereira Loureiro, Alice Nogueira Alves
    Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Rafael Bordalo Pinheiro, a portuguese Art Nouveau artist Rita Nobre Peralta, Leonor da Costa Pereira Loureiro, Alice Nogueira Alves Abstract The Art Nouveau gradual appearance in the Portuguese context it’s marked by the multidimensional artist Rafael Bordalo Pinheiro, and by his audacious affirmation as an avant- garde figure focused upon the industrial modernity, that is able to highlight some of the most original artistic solutions of his time. He manages to include in his production a touch of Portuguese Identity alongside with the new European trends of the late 19th century, combining traditional production techniques, themes and typologies, which are extended to artistic areas as varied as the press, the decorative arts and the decoration of cultural events. In this article, we pretend to analyse some of his proposals within Lisbon's civil architecture interior design and his participation in the Columbian Exhibition, held in Madrid in 1892, where he was a member of the Portuguese Legation, co-responsible for the selection and composition of the exhibition contents. Keywords: Art Nouveau, Cultural heritage, Portuguese identity, 19 th Century, interior and exterior design, Decorative arts, ceramics, tiles, furniture, Colombian Exposition of Madrid 1892 1 THE FIRST YEARS - PRESS, HUMOR AND AVANT-GARDE Rafael Augusto Prostes Bordalo Pinheiro (1846-1905) was born on March 21, 1846, in Lisbon, Portugal. His taste for art has always been boosted up by his father, Manuel Maria Bordalo Pinheiro who, together with his occupation as a civil servant, was also known as a painter and an external student of the Academy of Fine Arts of Lisbon.
    [Show full text]
  • 2017 the 2017 Paris Biennial
    THE 2017 PARIS BIENNIAL THE GRAND PALAIS FROM MONDAY, SEPTEMBER 11 THROUGH SUNDAY, SEPTEMBER 17 2017 THE PROGRAM PRESS RELEASE — PARIS, MAY 15, 2017 THE BIENNALE PARIS PRESS RELEASE — PARIS, MAY 15, 2017 2 THE 2017 PARIS BIENNIAL NEW DATES TO ADAPT TO THE ANNUALIZATION OF THE PARIS BIENNIAL The Paris Biennial will be held from Monday, September 11 to Sunday, September 17, 2017 Vernissage: Sunday, September 10, 2017 With the announcement of its annualization, The Paris Biennial confirms its commitment to renewal and development, adopting a shorter, more dynamic format, while offering two potential weekends to French and international collectors and professionals. A CULTURAL AND ARTISTIC BACK-TO-SCHOOL WEEK IN 2017 The Paris Biennial also wishes to support and encourage the development of a more compelling cultural and artistic program to accompany Back-to-School Week. Ultimately, it is the idea of a week of artistic excellence that is sought by collectors and professionals, thus making Paris, in mid-September of every year, the principal cultural destination on an international scale. Organized in conjunction with The 2017 Paris Biennial, there will be two major exhibitions initiated by the Marmottan Monet and the Jacquemart André Museums, the former presenting a first-of-its-kind exhibition on « Monet, Collector » and the second exhibiting a tribute to Impressionism With «The Impressionist Treasures of the Ordrupgaard Collection - Sisley, Cézanne, Monet, Renoir, Gauguin.» THE BIENNALE PARIS PRESS RELEASE — PARIS, MAY 15, 2017 3 THE PARIS BIENNIAL AND « CHANTILLY ARTS AND ELEGANCE: RICHARD MILLE » In this spirit, The 2017 Paris Biennial has initiated a partnership with « Chantilly Arts and Elegance Richard Mille » which will, on September 10, 2017, present the most world’s most beautiful historical and collectors’ cars, along with couturiers’ creations, automobile clubs and the French Art of Living, at the Domaine de Chantilly.
    [Show full text]
  • Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
    capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en).
    [Show full text]
  • Sources for the History of Art Museums in Portugal» Final Report
    PROJETHA Projects of the Institute of Art History Sources for the History of Art Museums in Portugal [PTDC/EAT-MUS/101463/2008 ] Final Report PROJETHA_Projects of the Institute of Art History [online publication] N.º 1 | «Sources for the History of Art Museums in Portugal» _ Final Report Editorial Coordination | Raquel Henriques da Silva, Joana Baião, Leonor Oliveira Translation | Isabel Brison Institut of Art History – Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa | 2013 PROJETHA_ Projects of the Institute of Art History SOURCES FOR THE HISTORY OF ART MUSEUMS IN PORTUGAL CONTENTS Mentioned institutions - proposed translations _5 PRESENTATION | Raquel Henriques da Silva _8 I. PARTNERSHIPS The partners: statements Instituto dos Museus e da Conservação | João Brigola _13 Museu Nacional de Arte Antiga | António Filipe Pimentel _14 Art Library of the Calouste Gulbenkian Foundation | Ana Paula Gordo _15 II . THE TASKS TASK 1. The origins of the Galeria Nacional de Pintura The origins of the Galeria Nacional de Pintura | Hugo Xavier _17 TASK 2. MNAA’s historical archives database, 1870-1962 The project “Sources…” at the Museu Nacional de Arte Antiga | Celina Bastos e Luís Montalvão _24 Report of the work undertaken at the Archive of the Museu Nacional de Arte Antiga. Research Fellowship | Andreia Novo e Ema Ramalheira _27 TASK 3. Exhibitions in the photographic collection of MNAA . The Photographic Archive at the Museu Nacional de Arte Antiga. A historical sketch | Hugo d’Araújo _35 TASK 4. Inventory and study of the “Arrolamentos” of the Royal Palaces of Necessidades and Ajuda. The project “Sources…” at the Palácio Nacional da Ajuda | PNA _52 Report of the work undertaken at the Palácio Nacional da Ajuda.
    [Show full text]
  • African Art at the Portuguese Court, C. 1450-1521
    African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W.
    [Show full text]
  • Timeline / 1860 to After 1930 / FINE and APPLIED ARTS
    Timeline / 1860 to After 1930 / FINE AND APPLIED ARTS Date Country Theme 1860 - 1910 Germany Fine And Applied Arts Realism (a backlash to both Classicism and Romanticism) is exemplified by French artist Gustave Courbet’s Die Steinklopfer (1849), although long before then Albrecht Dürer had painted his highly realistic Junger Feldhase (1502). 1860 Romania Fine And Applied Arts 7 November: on the initiative of painter Gheorghe Panaitescu-Bardasare, a School of Fine Arts and an art gallery are founded in Ia#i. 1860 Republic of Macedonia Fine And Applied Arts (FYROM) The icon “Seven Holy Teachers” (Sedmochislenitzi) is painted by the most significant representative of Christian religious art in Macedonia, Dicho Krstevic Zograph, at the peak of his creativity. It represents the Slav missionaries Sts Cyril and Methodius and their disciples Clement, Nahum, Gorazd, Sabbas and Angelarij in a solo composition. His icons are distinguished by bright colour and baroque features. 1860 Spain Fine And Applied Arts The Manises pottery begins to produce objects in lustreware. 1860 - 1918 Jordan Fine And Applied Arts Newcomers to Transjordan, whether from neighbouring Arab countries such as Syria, Palestine and Hijaz or from further afield such as Caucasus, bring with them not only artefacts of their home culture, including personal ornaments, weapons, costumes and treasured items, but also the necessary skills and social habits that help them to adapt in their new homeland. 1860 - 1870 Italy Fine And Applied Arts In opposition to academic painting, the Macchiaioli movement (Telemaco Signorini, Vincenzo Cabianca and Silvestro Lega) experiments with “spot painting”, based on the strong contrast between light and shadow.
    [Show full text]
  • July-August 1995 CAA News
    s regional, the full CAA membership will Conference be invited to submit proposals. Special Report consideration will be given to proposals from members residing in the New York Themes: area, so that New York members have from the opportunity to serve as theme chairs on a regular basis, though not necessar­ ANew ily each time the conference is held in ACLS New York. Proposals for themes will be re­ Approach viewed by the CAA Program Commit­ tee. The proposers of the selected themes will serve as theme chairs and will become members of the CAA Bober Honored Program Committee from appointment CAA was honored indirectly this year at Nonprofit Organization in October 1995 through the 1998 the annual ACLS meeting in the person eginning in 1997 the CAA U.S. Postage conference. During their terms on the of former CAA president Phyllis Bober, annual conference program Program Committee, theme chairs will who presented the thirteenth annual Paid will include sessions selected s serve as full members of the committee Haskins Lecture on her "Life of Learn­ New York, N.Y. according to three groupings: sessions and will help to shape both the thematic ing." Bober is only the fourth woman to Permit No. 4683 organized around a preselected art and nonthematic portions of the have been selected for this most Julyl August 1995 history theme; sessions organized program. Most importantly, theme prestigious of presentations, and around a preselected studio art theme; College Art Association chairs will have principal responsibility attendance set new records. Her 275 Seventh A venue and sessions selected as part of a for selecting panels for their respective inspiring talk was full of powerful New York, New York 10001 general call for proposals.
    [Show full text]
  • Life-Trajectory and Identity in the Cases of Helena Almeida and Jorge Molder
    ANABELA PEREIRA Life-trajectory and identity in the cases of Helena Almeida and Jorge Molder Análise Social, 207, xlviii (2.º), 2013 issn online 2182-2999 edição e propriedade Instituto de Ciências Sociais da Universidade de Lisboa. Av. Professor Aníbal de Bettencourt, 9 1600-189 Lisboa Portugal — [email protected] Análise Social, 207, xlviii (2.º), 2013, 396-421 Life-trajectory and identity in the cases of Helena Almeida and Jorge Molder. The aim of this article is to enhance the role of the practices of self-representation in Helena Almeida and Jorge Molder as a constituent of artist’s identity construc- tion processes using a Multiple Correspondence Analysis (mca). It also emphasizes the idea of self-representation as the result of their embodied experiences as well as of the forms of acknowledgment and legitimization of their names. Keywords: life-trajectory; self-representation; identity; mca. Trajetórias de vida e identidade em Helena Almeida e Jorge Molder. O objetivo deste artigo é evidenciar o papel das prá- ticas de autorrepresentação nas trajetórias de Helena Almeida e Jorge Molder como integrantes dos seus processos de cons- trução da identidade utilizando uma Análise de Correspon- dências Múltiplas (acm). Pretende-se ainda realçar a ideia da autorrepresentação como produto da experiência incorporada, bem como das formas de reconhecimento e legitimação dos seus nomes. Palavras-chave: trajetórias de vida; autorrepresentação; iden- tidade; acm. Anabela Pereira » [email protected] » cies, iscte-iul. ANABELA PEREIRA Life-trajectory and identity in the cases of Helena Almeida and Jorge Molder1 INTRODUCTION Seeking to explain the mechanisms mediating the use of the body in artistic work and its implications as a social place for the name of the artist and authen- ticity of his work, the present study analyzes the cases of Helena Almeida (ha) and Jorge Molder (jm) through a reconstruction of their activities.
    [Show full text]
  • Art History (Ah) Ah 2114
    ART HISTORY (AH) AH 2114. Survey of Islamic Art and Architecture from the Fourteenth Century to the Present. 3 Credits. Explanation of Course Numbers Introductory survey of the visual arts and architecture in the Muslim lands from the fourteenth century to the present. • Courses in the 1000s are primarily introductory Analysis of arts ranging from Spain in the west to Central Asia, undergraduate courses Iran, and India in the east within their historical, religious, and • Those in the 2000s to 4000s are upper-division cultural contexts. undergraduate courses that also may be taken for graduate AH 2154. American Architecture I. 3 Credits. credit with permission and additional work assigned Stylistic properties, form and type characteristics, technological • Those in the 6000s and 8000s are for master’s, doctoral, developments, and urbanistic patterns as a means of and professional-level students interpreting historic meaning; analysis of buildings both as • The 6000s are open to advanced undergraduate students artifacts and as signifiers of social, cultural, and economic with approval of the instructor and the dean or advising tendencies. 1600 to1860. (Same as AMST 2520, CAH 2154) office AH 2155. American Architecture II. 3 Credits. AH 1032. Survey of Art and Architecture II. 3 Credits. Continuation of AH 2154. Stylistic properties, form, and type Continuation of AH 1031. An introduction to the history of characteristics, technological developments, and urbanistic art through the study of major monuments, movements, and patterns as a means of interpreting historic meaning; analysis concepts. From the early Renaissance through the Baroque and of buildings both as artifacts and as signifiers of social, cultural, modern eras.
    [Show full text]
  • Virgílio Ferreira Personal Information
    VIRGÍLIO FERREIRA PERSONAL INFORMATION Nationality: Portuguese Contact Details: [email protected] - 0044 07741710799 EDUCATION 2011/12 MA Photography at the University of Brighton, UK. 2005 Advanced course on Cinematographic Photography, at the International School of Cinema, San Antonio de Los Baños, La Habana. 1994 / 95 2º year on the Higher Photography Course at the École des Arts et Métiers de L’Image 21- Paris. 1991 / 93 Porto Technical School of Photography. SELECTED SOLO EXHIBITIONS 2013 “Uncanny Places” and “Passagens”, High House Gallery, UK 2012 “Daily Pilgrims”, Ílhavo Cultural Centre, Portugal. 2011 "Uncanny Places", Encontros da Imagem Festival, Braga, Portugal. 2011 “Uncanny Places”, Módulo Gallery, Lisbon, Portugal. 2010 “Uncanny Places”, Ofoto Gallery, Shanghai, China. 2010 “Daily Pilgrims, Museu da Imagem, Braga, Portugal. 2009 “Daily Pilgrims”, 10 th Photography Festival, Aleppo, Syria. 2008 “Daily Pilgrims”, Portuguese Centre of Photography, Porto, Portugal. 2008 “Daily Pilgrims”, Fotofestiwal Lodz, Poland. 2007 “Daily Pilgrims”, Stichting BEP, Amsterdam. 2007 “We and the Others” 19 th International Photography Meeting, Thesssaloniki, Grece. 2006 “We and the Others”, PipFestival, China. 2005 “We and The Others”, Portuguese Centre of Photography, Porto, Portugal. 2005 “Liminal Village”, Imagolucis Gallery, Porto, Portugal SELECTED GROUP EXHIBITIONS 2013 Summer Exhibition, Royal Academy of Arts, London. 2013 On the Perimeter: The Edge of Photography”, High House Gallery 2013 New British 2013, Lloyds Club, London. Curated by Katie Heller and Annabel Cary. 2013 Masquerade, High House Gallery, UK 2013 Reality Check, High House Gallery pop up at 44AD Artspace, Bath, UK 2012 Open Stock, Módulo Gallery, Lisbon, Portugal. 2012 MA Show “Déjà Vu”, University of Brighton Gallery, UK 2012 The Empty Quarter Gallery, Dubai, UAE.
    [Show full text]
  • 1 Alfredo De Andrade's
    To and fro: modernism and vernacular architecture Porto: CEAA, 2013 ALFREDO DE ANDRADE’S (1838-1915) SURVEYS ON VERNACULAR ARCHITECTURE ACROSS ITALY AND PORTUGAL1 Teresa Ferreira Centro de Estudos de Arquitectura e Urbanismo, Faculdade de Arquitectura da Universidade do Porto (CEAU-FAUP) / Faculty of Architecture of the University of Porto, Portugal Abstract This paper examines the surveys on vernacular architecture made by Alfredo de Andrade across his two nations, Italy and Portugal. This broader (documentary and iconographic) material relates to central issues in the late 19th-century architectural debate centred on the ‘construction of the nation’: the identification, study and safeguarding of buildings, which represented an emerging national identity, and which, on the other hand, could also be a source of inspiration for new architectural design. Moreover, the paper suggests the importance of this background in defining 20th-century architectural culture. Keywords: Surveys, Medieval Archaeology, Architecture, Safeguard Although surveys on vernacular architecture enjoyed a particular significance in 20th-century architectural culture, an interesting background can nonetheless be found in the 19th century, involving such different fields as architecture, archaeology and ethnography2. 1 Alfredo de Andrade was born in Lisbon in 1839 into a wealthy Portuguese family. He went to Italy at the age of 14 to study business and languages, but soon became deeply involved in artistic studies and never again returned to live in his native country on a definitive basis. Andrade studied at the Academy of Genoa and engaged in prolific artistic and cultural activity in Italy as a painter, teacher, archaeologist, restorer and architect, also undertaking several public duties, such as working as an Inspector of Monuments and a Commissioner for Artistic and Industrial Education.
    [Show full text]