Sessions Are Listed Cl~Ro~Lologicallyin the Pages That Follo~\~.All Receptions Are Listed on Pages 54-55
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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. -
The Things They've Done : a Book About the Careers of Selected Graduates
The Things They've Done A book about the careers of selected graduates ot the Rice University School of Architecture Wm. T. Cannady, FAIA Architecture at Rice For over four decades, Architecture at Rice has been the official publication series of the Rice University School of Architecture. Each publication in the series documents the work and research of the school or derives from its events and activities. Christopher Hight, Series Editor RECENT PUBLICATIONS 42 Live Work: The Collaboration Between the Rice Building Workshop and Project Row Houses in Houston, Texas Nonya Grenader and Danny Samuels 41 SOFTSPACE: From a Representation of Form to a Simulation of Space Sean tally and Jessica Young, editors 40 Row: Trajectories through the Shotgun House David Brown and William Williams, editors 39 Excluded Middle: Toward a Reflective Architecture and Urbanism Edward Dimendberg 38 Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology Robert Mangurian and Mary-Ann Ray 37 Pandemonium: The Rise of Predatory Locales in the Postwar World Branden Hookway, edited and presented by Sanford Kwinter and Bruce Mau 36 Buildings Carios Jimenez 35 Citta Apperta - Open City Luciano Rigolin 34 Ladders Albert Pope 33 Stanley Saitowitz i'licnaei Bell, editor 26 Rem Koolhaas: Conversations with Students Second Editior Sanford Kwinter, editor 22 Louis Kahn: Conversations with Students Second Edition Peter Papademitriou, editor 11 I I I I I IIII I I fo fD[\jO(iE^ uibn/^:j I I I I li I I I I I II I I III e ? I I I The Things They've DoVie Wm. -
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. -
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. -
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). -
Career Services Annual Report
Career Services Annual Report 2013-14 Contact Career Services: Join us on social media: Swarthmore College 500 College Avenue Phone: (610) 328-8352 135 Parrish Hall Fax: (610) 328-8549 Swarthmore, PA 19081 Career Services Annual Report, 2013-2014 The Career Services Mission Career Services counsels students and alumni as they explore career directions. Since career development is preparation for life, our mission is to help students gain self-understanding and connect their interests, values and skills with knowledge about careers and life beyond Swarthmore College. In support of that mission, we build relationships with faculty, colleagues at the College and families of our students and serve as a resource for employers and graduate schools who offer opportunities. First Plans of Swarthmore Students The job market continues to rebound significantly since the recession, with the National Association of Colleges and Employers (NACE) survey of graduating seniors reporting that 30.1% of students who had initiated a job search had secured employment upon graduation, higher than 29.3% last year. Swarthmore seniors consistently fare significantly better than the national average, with 50% reporting they secured employment by graduation (compared to 42.7% in 2013, 38.5% in 2012, 36% in 2011 and 34% in 2010). 277 of 372 seniors completed our senior survey (75%): • 198 (71.5%) have secured or are currently seeking employment. 138 (50%) provided full details of their employment including title, employer and location • 43 (15.5%) are attending graduate -
Jwarthmore Intercollegiate Athletics 1972 a Different Hall Game?
Jwarthmore Intercollegiate Athletics 1972 A different hall game? Swarthmore Intercollegiate Athletics'72 A//) 'f<3 "fa //9 ^ Is it winning or how you play the game that counts? “The Cultural Revolution has penetrated the last stronghold of the American myth— the locker room. Young athletes, having scaled new levels of consciousness, now challenge a long-standing article of faith— the belief that competition has intrinsic value. They enter sports in search of particular esthetic experience, essentially personal in nature. They no longer accept the authoritarian structure of sports, nor do they accept the supreme emphasis on winning.” —Bruce C. Ogilvie and Thomas A. Tutko, Psychology Today, October, 1971 No one uses the word “ revolution” to describe intercollegiate athletics at Swarthmore today. But everybody— coaches, athletes, interested faculty and administrators— agrees they are different. “Our locker room became revolutionary a long time ago,” says Professor Thomas Blackburn, familiar with Swarthmore athletics for some ten years. “What is most different 1 Swarthmore Intercollegiate Athletics ’72 today,” he says, “ is that you find few people who are 4 Today's Athletes Tell Why willing to sit out a couple of years on the second team. They Play the Game People who don’t play tend to quit.” 13 The Coaches Speak Out The change may not be sudden, radical, or complete— 17 Women's Liberation in the Locker Room adjectives Webster allies with revolution—but it is 21 Women’s Coaches Say Philosophies Differ noticeable and at times uncomfortable for all involved. 24 The College It is most evident in the team sports, where the popular 28 Class Notes do-your-own-thing philosophy clashes with the necessity for cooperation and discipline. -
Architects and Moderators in the Cocktails and Conversations: Dialogues on Architecture Design Book
Architects and Moderators in the Cocktails and Conversations: Dialogues on Architecture design book ARCHITECTS Calvin Tsao, FAIA, TsAO + McKOWN Sir David Adjaye, OBE, Hon. FAIA, Adjaye Associates Billie Tsien, AIA, Tod Willliams Billie Tsien Architects Morris Adjmi, FAIA, Morris Adjmi Architects Bartholomew Voorsanger, FAIA,Voorsanger Architects Emre Arolat ,Emre Arolat Architecture Richard Weller, ASLA, Penn Design Tom Balsley, FASLA, SWA/Balsley Jane Weinzapfel, FAIA, Leers Weinzapfel Architects David Benjamin, The Living Marion Weiss, FAIA, WEISS/MANFREDI Architects Deborah Berke, FAIA, Deborah Berke Partners Claire Weisz, FAIA, WXY architecture + urban design Marlon Blackwell, FAIA, Marlon Blackwell Architects Tod Williams, FAIA, Tod Willliams Billie Tsien Architects Molly Bourne, RLA, ASLA, MNLA Kulapat Yantrasast, wHY Stephen Cassell, AIA, Architecture Research Office Kim Yao, AIA, Architecture Research Office Vishaan Chakrabarti, FAIA, Practice for Architecture and Urbanism (PAU) Adam Yarinsky, FAIA, Principal, Architecture Research Office Brad Cloepfil, AIA, Allied Works Architecture Mehrdad Yazdani, Assoc. AIA, Yazdani Studio of Cannon Design Neil Denari, FAIA, Neil M. Denari Architects Belmont Freeman, FAIA, Belmont Freeman Architects Massimiliano Fuksas, Hon. FAIA, Studio Fuksas Jeanne Gang, FAIA, Studio Gang MODERATORS Peter Gluck, GLUCK+ Lila Allen, Writer and Editor Frances Halsband, FAIA, Kliment Halsband Architects Barry Bergdoll, Hon. AIANY, Columbia University GSAAP Hugh Hardy, FAIA, H3 Hardy Collaboration Architecture -
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. -
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. -
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. -
Notes Toward a Catalog of the Buildings and Landscapes of Dartmouth College
Notes toward a Catalog of the Buildings and Landscapes of Dartmouth College Scott Meacham, 1995-2001 Contents Introduction ......................................................................................................... 1 A.......................................................................................................................... 2 B.......................................................................................................................... 8 C ....................................................................................................................... 23 D ....................................................................................................................... 43 E........................................................................................................................ 55 F........................................................................................................................ 58 G ....................................................................................................................... 64 H ....................................................................................................................... 75 I ......................................................................................................................... 86 J ........................................................................................................................ 86 K.......................................................................................................................