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Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
Cultural-History-Fin.Ai
CHRONOLOGICAL CHART OF WORLD CULTURAL HISTORY 600000 100000 10000 3000 2500 2000 1500 1000 500 B.C. 1 1 A.D. 100 200 300 400 500 600 700 800 900 1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 2000 38 45 10 94 92 36 92 68 03 68 46 70 c. 2000 1125 +- 130 c. 1000 870 +- 130 ASUKA PERIOD HAKUHO PERIOD NARA PERIOD HEIAN PERIOD KAMAKURA PERIOD MUROMACHI PERIOD AZUCHI EDO PERIOD MODERN AGE 7290 + 500 c. 10000 - 5600 +- 325 3150 +- 400 2115 +- 135 Tumulus culture 49 57 65 Konin Jogan cul. Fujiwara cul. Nagashima MOMOYAMA P. Jomon Culture Yayoi culture Hakuho cul. Nara cul. Nakayama cul. JAPAN 1 Pre-pottery Culture 93 62 72 87 97 08 17 29 82 10 34 59 77 85 01 38 47 68 90 12 24 37 53 65 08 35 56 77 84 01 19 49 64 78 83 cul. Kamigata cul. Edo cul. JAPAN 1 24 34 45 75 94 44 67 04 32 73 92 15 24 55 61 88 04 16 51 64 81 89 04 18 30 54 12 26 89 Middle stage Late stage Asuka cul. ASIAN CULTURAL SPHERE CULTURAL ASIAN 1st stage 2nd st. Early st. Early Stage Middle stage Late stage 4th stage 5th stage 6th stage I II SPHERE CULTURAL ASIAN PYONHAN c. 69 IMNA 62 76 35 59 56 92 36 97 10 45 48 c. 194 c. 108 CHINHAN c. 56 SILLA R L I REPUBLIC of KOREA Eastern Asia Eastern UNIFIED SILLA ( ) KIJA 75 c. 46 PAEKCHE 63 TAE KOREA 2 MAHAN R( L) ISSI CHOSON DYNASTY JAPANESE 2 CHOSON LOLANG 13 Tumulus culture in three Kingdoms 68 18 KORYO MONGOL’S HAN (POSSESSION) c. -
Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-1992 Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance Leon Stratikis University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Stratikis, Leon, "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. " PhD diss., University of Tennessee, 1992. https://trace.tennessee.edu/utk_graddiss/2521 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Leon Stratikis entitled "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Paul Barrette, Major Professor We have read this dissertation and recommend its acceptance: James E. Shelton, Patrick Brady, Bryant Creel, Thomas Heffernan Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation by Leon Stratikis entitled Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. -
![Definition[Edit]](https://docslib.b-cdn.net/cover/2822/definition-edit-922822.webp)
Definition[Edit]
Romanesque architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the beginning date of the Romanesque architecture, with proposals ranging from the 6th to the 10th century. It developed in the 12th century into the Gothic style, marked by pointed arches. Examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman Architecture. The Romanesque style in England is traditionally referred to as Norman architecture. Combining features of ancient Roman and Byzantine buildings and other local traditions, Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading. Each building has clearly defined forms, frequently of very regular, symmetrical plan; the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics and different materials. Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great abbeychurches, many of which are still standing, more or less complete and frequently in use.[1] The enormous quantity of churches built in the Romanesque period was succeeded by the still busier period of Gothic architecture, which partly or entirely rebuilt most Romanesque churches in prosperous areas like England and Portugal. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of southern France, northern Spain and rural Italy. Survivals of unfortified Romanesque secular houses and palaces, and the domestic quarters of monasteries are far rarer, but these used and adapted the features found in church buildings, on a domestic scale. -
Minnesota's Architecture, Part 4: Academic Revival Styles
TECH TALK MINNESOTA HISTORICAL Minnesota’s Architecture • Part IV SOCIETY THE ACADEMIC REVIVAL STYLES by Charles Nelson Historical Architect, Minnesota Historical Society NOTE: Words marked with an asterisk (*) are as a necessary part of each student’s education, and discussed briefly in the glossary on p. 6. aspiring architects ventured throughout Europe and This is the Britain to fill sketch books with details from antiquity. fourth in a According to many historians, the World’s With the aid of modern technology and materials, series of five Columbian Exposition of 1893 heralded the end of the these details were translated into contemporary Tech Talk Victorian era. Held in Chicago, the Exposition articles on building designs. Hence, the resulting styles came to Minnesota’s brought together the talents of architects from across be called “Academic” Revivals. They remained architectural the country to create the “White City,” hundreds of popular through the 1930s until World War II. styles. acres of exposition halls, pavilions, sculpture gardens The next one is and promenades—all linked by a man-made canal scheduled for Neo-Classic Revival the Jan. 2000 system. As was the case with the Centennial The Neo-Classic Revival style is noted for its issue of The Exposition 17 years earlier, the Columbian monumental scale, colonnaded porticoes and classical Interpreter. Exposition’s promoters regarded it as an event that ornament, used in public buildings and residences would popularize the “cutting edge” of taste and alike. The influence of the Beaux Arts movement is design. When the scale, expense and impact of the Columbian Exposition are considered in comparison A Few Facts about the with previous—as well as later—expositions or fairs, Columbian Exposition of 1893 it may be considered to have had the greatest impact The event ultimately cost more than $28 million, on society of all the others up to the present day. -
“Forms Assembled in the Light” Week One: Early Medieval Art
ART HISTORY Journey Through a Thousand Years “Forms Assembled in the Light” Week One: Early Medieval Art The Craftsmen Who Saved Civilisation - The Civilisation that Survived – Controversy Over Images – Decoding Anglo-Saxon Art - Basilicas - Illuminated Manuscripts – In Search of Three Dimensions – From the Vaults: The Lindau Gospels – Ottonian Art – The Bernward Doors - An Introduction to the Bestiary, Book of Beasts in the Medieval World - The painted crypt of San Isidoro at León, Spain By Megginede - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=45924271 “Great nations write their autobiographies in three manuscripts[;] the book of their deeds, the book of their words, and the book of their art. Not one of these works can be understood unless we read the two others, but of the three the only trustworthy one is the last.” – Ruskin Kenneth Clark: “The Craftsmen Who Saved Civilization” From Civilisation: A Personal View (1969) People sometimes tell me they prefer barbarism to civilization. I doubt if they have given it a long enough trial. Like the people of Alexandria they are bored by civilisation; but all the evidence suggests that the boredom of barbarism is infinitely greater. Quite apart from discomforts and privations, there was no escape from it. Very restricted company, no books, no light after dark, no hope. On one side of the sea battering away, on the other the infinite stretches of the bog and the forest. A most melancholy existence, and the Anglo- Saxon poets had no illusions about it: A wise man may grasp how ghastly it shall be When all this world’s wealth standeth waste Even as now, in many places over the earth, Walls stand windbeaten, Heavy with hoar frost; ruined habitations… The maker of men has so marred this dwelling That human laughter is not heard about it, And idle stand these old giant works. -
Multicultural Exchange in the Norman Palaces of Twelfth
A Changing Mosaic: Multicultural Exchange in the Norman Palaces of Twelfth-Century Sicily by Dana Katz A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Dana Katz 2016 A Changing Mosaic: Multicultural Exchange in the Norman Palaces of Twelfth-Century Sicily by Dana Katz Doctor of Philosophy Graduate Department of Art University of Toronto 2016 Abstract This dissertation examines the twelfth-century residences associated with the Norman Hautevilles in the parklands that surrounded their capital at Palermo. One of the best-preserved ensembles of medieval secular architecture, the principal monuments are the palaces of La Zisa and La Cuba, the complexes of La Favara and Lo Scibene, the hunting lodge at Parco, and the palace at Monreale. The Norman conquest of Sicily in the previous century dramatically altered the local population’s religious and cultural identity. Nevertheless, an Islamic legacy persisted in the park architecture, arranged on axial plans with waterworks and ornamented with muqarnas vaults. By this time, the last Norman king, William II, and his court became aligned with contemporaries in the Latin West, and Muslims became marginalized in Sicily. Part One examines the modern “discovery” and reception of the twelfth-century palaces. As secular examples built in an Islamic mode, they did not fit preconceived paradigms of medieval Western architecture in the scholarly literature, greatly endangering their preservation. My examination reconstructs the vast landscape created by the Norman kings, who modified their surroundings on a monumental scale. Water in the parklands was harnessed to provide for ii artificial lakes and other waterscapes onto which the built environment was sited. -
Architecture, by Nancy R E Meugens Bell 1
Architecture, by Nancy R E Meugens Bell 1 Architecture, by Nancy R E Meugens Bell The Project Gutenberg EBook of Architecture, by Nancy R E Meugens Bell This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Architecture Author: Nancy R E Meugens Bell Release Date: August 30, 2010 [EBook #33589] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK ARCHITECTURE *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive.) ARCHITECTURE BY MRS. ARTHUR BELL AUTHOR OF "THE ELEMENTARY HISTORY OF ART," "MASTERPIECES OF THE GREAT Architecture, by Nancy R E Meugens Bell 2 ARTISTS," "REPRESENTATIVE PAINTERS OF THE NINETEENTH CENTURY," ETC. [Illustration: logo] LONDON: T. C. & E. C. JACK 67 LONG ACRE, W.C., AND EDINBURGH NEW YORK: DODGE PUBLISHING CO. CONTENTS CHAP. PAGE INTRODUCTION: WHAT ARCHITECTURE IS--MATERIALS EMPLOYED--DEFINITION OF DISTINCTIVE FEATURES OF THE TWO MAIN STYLES, TRABEATED AND ARCUATED v I. EGYPTIAN, ASIATIC, AND EARLY AMERICAN ARCHITECTURE 7 II. GREEK ARCHITECTURE 13 III. ROMAN ARCHITECTURE 22 IV. EARLY CHRISTIAN ARCHITECTURE 31 V. BYZANTINE AND SARACENIC ARCHITECTURE 36 VI. ROMANESQUE ARCHITECTURE 45 VII. ANGLO-SAXON AND ANGLO-NORMAN ARCHITECTURE 52 VIII. GOTHIC ARCHITECTURE IN EUROPE 60 IX. GOTHIC ARCHITECTURE IN GREAT BRITAIN 72 X. RENAISSANCE ARCHITECTURE IN EUROPE 83 XI. -
Early Medieval Art After the Collap
AP ART HISTORY STUDY SHEET Name: Date: Period: Gardener’s Notes Unit 10 - Chapter 16: Early Medieval Art After the collapse of the Roman Empire, Western Europe entered what is known as the Dark Ages. Power became decentralized, dispersed among various nomadic tribes. Trade among towns and outposts collapsed because the Roman legions were no longer present to maintain order. When comparing the art produced during early medieval times with the many achievements of the Roman Empire, it is obvious why historians first labeled the period the Dark Ages. However, recent discoveries and scholarship have uncovered works of art and architecture that reveal the presence of rich cultures between the years 500 and 1000 CE. For the AP Art History exam, the early Middle Ages includes four stages: (1) Art of the Warrior Lords, (2) Hiberno-Saxon Art, (2) Carolingian Art, and (4) Ottonian Art. The 2004 exam contained a slide-based short essay comparing a picture of a purse cover from Sutton Hoo, a site during the Warrior Lord Period, to ta carpet page from the Lindisfarne Gospels , a Hiberno-Saxon illuminated manuscript. Past tests also required students to discuss the characteristics of Carolingian illuminated manuscript. Multiple-choice questions have tested student’s recognition of a famous Ottonian church and its bronze doors. Early Medieval art is groups with Early Christian and Byzantine Art as 5 percent to 10 percent of the points on the AP Art History exam, which is a small percentage of the total points. Nonetheless, this chapter provides you with the necessary knowledge about the early Medieval period to prepare you for possible test questions. -
Modern British and Irish Art Montpelier Street, London | 16 September 2020
Modern British and Irish Art Montpelier Street, London | 16 September 2020 Modern British and Irish Art Montpelier Street, London | Wednesday 16 September 2020, at 1pm BONHAMS BIDS ENQUIRIES IMPORTANT INFORMATION Montpelier Street +44 (0) 20 7447 7447 Janet Hardie The United States Government Knightsbridge +44 (0) 20 7447 7401 fax Specialist has banned the import of ivory into London SW7 1HH [email protected] +44 (0) 20 7393 3949 the USA. Lots containing ivory are www.bonhams.com [email protected] indicated by the symbol Ф printed To bid via the internet please beside the lot number in this visit www.bonhams.com Catherine White catalogue. VIEWING Junior Cataloguer Sunday 13 September Please note that bids should be +44 (0) 20 7393 3884 REGISTRATION 11am -3pm submitted no later than 4pm [email protected] IMPORTANT NOTICE Monday 14 September on the day prior to the auction. Please note that all customers, 9am- 4.30pm New bidders must also provide PRESS ENQUIRIES irrespective of any previous activity Tuesday 15 September proof of identity when submitting [email protected] with Bonhams, are required to 9am-4.30pm bids. Failure to do this may result complete the Bidder Registration Wednesday 16 September in your bids not being processed. Form in advance of the sale. The CUSTOMER SERVICES 9am - 11am form can be found at the back of Bidding by telephone will only be Monday to Friday every catalogue and on our website Viewing is by timed appointment accepted on a lot with the lower 8.30am – 6pm at www.bonhams.com and should only, please contact Catherine estimate in excess of £500.