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Symbolika bočního průčelí kostela sv. Tomáše na Malé Straně

Symbolika bočního průčelí kostela sv. Tomáše na Malé Straně

Author(s): Bojana Popatanasovská / Language(s): Czech Issue: 02/2022

The main aim of this article is to present a new interpretation of the decoration of the lateral facade of the Augustinian Church of St Thomas in the Lesser Town of Prague, which was created during the reconstruction of the church by its architect Kilián Ignác Dientzenhofer in the first third of the 18th century. Drawing on recently discovered sources, it provides a new interpretation of the emblematic decoration of the portal of the lateral facade, both in the context of the painted decoration of the church interior and in relation to the social and theological conditions of the time. In particular, it proposes an interpretation of the four metopes in the entablature of the Doric order, for which the author or commissioner of the Baroque rebuilding of the church probably found inspiration in the emblematic album Devises et Emblèmes Anciennes & Modernes by the late 17th-century French writer and emblematist Daniel de La Feuille, on the basis of which the symbolism of these four metopes can be interpreted. The meaning of these four metopes is then related in the context of the entire decoration of the lateral facade of the temple also within the symbolism of the columnar orders, in this particular case the use of the Doric order. As it appears, the entire decoration of the lateral facade was systematically and purposefully chosen by the architect and contains extraordinary Christological symbolism that may be hidden to the modern observer at first glance.

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Marc Niubo. Italská opera v  mozartovské Praze

Marc Niubo. Italská opera v mozartovské Praze

Author(s): Martin Nedbal / Language(s): Czech Issue: 02/2022

Review of Marc NIUBO. Italská opera v mozartovské Praze. Praha: Univerzita Karlova, 2022, 302 s. ISBN 978-80-246-4843-9.

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Lieder der böhmischen Exulanten und katholische hymnographische Medien des 17. und 18. Jahrhunderts

Lieder der böhmischen Exulanten und katholische hymnographische Medien des 17. und 18. Jahrhunderts

Author(s): Kateřina Smyčková / Language(s): German Issue: 01/2021

Songs of the Czech exiles and the Catholic hymnography of the 17th and 18th century The study examines Czech spiritual songs since the beginning of the 17th century until the end of the 18th century and deals with the connections between the non-Catholic songs of the Post-White Mountain exile and the Czech Catholic hymnography. It has been thought that these connections were almost unpossible. This study deals with the songs of the exiles in the Czech Catholic hymnbooks, broadsides and manuscripts – the aim of this study is to show the function of media in the Czech hymnography. The contacts with non-Catholic exiled and Catholic hymnbooks were mediated by orality, manuscripts and broadsides. This example shows the Czech hymnography as a media space; the study examines the position of manuscripts and primarily broadsides in this media space, both are very close to orality.

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Představitelé malířské profese v soupisu obyvatelstva Nového Města pražského z roku 1770/1771

Představitelé malířské profese v soupisu obyvatelstva Nového Města pražského z roku 1770/1771

Author(s): Radka Heisslerová / Language(s): Czech Issue: 01/2021

By a patent of 10 March 1770, Empress Maria Teresa ordered a register and census to be carried out in Bohemia, Lower Austria and the Habsburg Erblande of all persons, draft animals and houses with the aim of reorganizing military sectors and determining the defensive capability of the population. Conscription was carried out door-to-door by senior army officers in conjunction with regional commissars, or in the case of Prague with councillors from the various municipalities. In Prague New Town, the recruitment commission began work on 1 October 1770 and finished on 19 February 1771. This study is devoted to members of the painting profession – painters and their assistants (varnishers and gilders) – whose names are to be found in these records. Painters were to some extent a special case since, unlike most other artisans, they were legally permitted to carry out their trade in various different ways. The study thus looks not only at the circumstances, origin and age of individual artists, but also aims to describe the different ways in which they could conduct their profession. Examining the conscription records, it also becomes clear what a rich source they represent, providing invaluable insights into the population of Prague in the latter half of the 18th century.

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Organisationswandel bei den bürgerlichen Brünner Künstlern im 18. Jahrhundert

Organisationswandel bei den bürgerlichen Brünner Künstlern im 18. Jahrhundert

Author(s): Pavel Suchánek / Language(s): German Issue: 01/2020

The article analyzes set of normative sources which regulated the exercise of the profession of painters and sculptors in Brno in the 18th century (guilds’ statutes, government’s decrees, civic regulations, judicial sources etc.). The study interprets the decline of the artists’ guild organization in Brno in the 1750s in a wider perspective of economic and administrative reforms in the Habsburg monarchy. These reforms were marked by several particular initiatives made by the artist’s corporation in Brno, who came up with own unsuccessful proposals of various changes of the traditional city’s guild system. The study states that such initiatives should not be explained simply as symptoms of a changing urban society in Central Europe during the Enlightenment era, or as a consequence of the dynamics of proto-industrialization and the establishment of new economic as well educational institutions, but also as a result of the new product market and the demand shifted towards less expensive and more fashionable goods.

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The Problem of the Differentiation of Criticism and Art in the Literary System of Late 18th Century Bohemia

The Problem of the Differentiation of Criticism and Art in the Literary System of Late 18th Century Bohemia

Author(s): Václav Smyčka / Language(s): English Issue: 01/2019

Starting with the traditional dichotomy of two views of the relation between criticism and art – “criticism as art” and “criticism based on detachment” – this study seeks to show both standpoints to be part of a single complex of issues and tensions associated with the functional differentiation within literary communication at the turn of 18th and 19th century. This approach is based on Niklas Luhmann’s system theory, applied (with something of a twist) by Siegfried Schmidt to literature. After introducing the problem of functional differentiation within the literary system in Bohemia, the study presents many different historical conceptions of the relation of art and criticism observable in discussions at the turn of 18th and 19th century in Bohemia. I then focus on the notion of “genius” in these discussions, which played an important role in the development of the concept of “criticism as art”. In the following three parts, the study investigates the differentiation of critical praxis: the genesis of “artistic criticism” characterized by hermeneutics and its form-reflecting approach, and the ongoing usage of artistic genres in criticism. The last part focuses on a specific critical genre of the period, the satirical vision, and its transformation as a consequence of the differentiation of the literary system.

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RUS ELEŞTİRMENLERİNİN GÖZÜYLE N. GOGOL’ÜN “PALTO”SU

RUS ELEŞTİRMENLERİNİN GÖZÜYLE N. GOGOL’ÜN “PALTO”SU

Author(s): Sevinç Üçgül / Language(s): Turkish Issue: 111/2023

One of the names in Russian literature that has attracted great attention with his life and literary art from his time until today is Nikolay Gogol. 19th century V. Belinski, one of the Russian critics, was one of the first names to notice the author's original satirical art and mentions the characteristics of Gogol's art in many of his articles and letters. His contemporaries followed Gogol's art very closely and evaluated each work he wrote from different angles, and this intense interest continued in the following years by literary critics, writers and social scientists. In the article, the comments and evaluations made in the 19th and 20th centuries will be examined by focusing on the criticisms and comments made about Gogol's work "The Overcoat".

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TİPOGRAFİDE DENEY, OYUN VE TASARIM İLİŞKİSİNİN İNCELENMESİ: TİPOGRAFİK OYUNCAKLAR

TİPOGRAFİDE DENEY, OYUN VE TASARIM İLİŞKİSİNİN İNCELENMESİ: TİPOGRAFİK OYUNCAKLAR

Author(s): Pembe Aktürk / Language(s): Turkish Issue: 111/2023

Typography is an essential part of our lives; ıts meaning and sphere of influence expand with the development of technology, communication and perception styles. Typography is an art that includes technical and aesthetic arrangements regarding writing and its arrangement. Today, various experiments are carried out to capture diversity in typography, increase the typographic effect, surprise/impress/entertain the consumer, and these experiments serve as a guide for designers, academicians, students and interested parties working in the field of typography. This research examines the relationship between experimentation, design and play in the field of typography through examples selected within the scope of the study. Emphasizing that experimental designs made in the field of typography are similar to the concept of play, which is a form of creative action, it illuminates the subject through typographic examples inspired by plays or transformed into plays. The document review model, one of the qualitative research methods, was used in the research. As a result of the research, it was seen that the field of typography is a rich and potential field, and when the act of play and typography discipline are combined, creative, entertaining, educational plays and toys can emerge. It is thought that the typographic plays and toys examined within the scope of the research have a stimulating quality in terms of what can be produced in the field of typography and can be a source of inspiration for studies to be carried out in the field of typography.

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SANAT TARİHİNDE KADIN BEDENİNİN DEĞİŞEN İMGESİ

SANAT TARİHİNDE KADIN BEDENİNİN DEĞİŞEN İMGESİ

Author(s): Burcu Kaya Karaduman / Language(s): Turkish Issue: 111/2023

Throughout art history, the portrayal of the female body has been one of the most significant subjects reflecting the societal values and beliefs of the respective eras in artworks. From ancient times to the present day, artists have depicted the female body with various interpretations. In early artworks, the female figure was often depicted as the Mother Goddess. These depictions typically carried meanings related to fertility, abundance, and the guardian of nature. Clues regarding how Paleolithic hunter-gatherers perceived the female figure can be found in portable art pieces. For example, a figurine dating back to approximately 20,000 B.C. known as the "Venus of Willendorf," could be interpreted as a symbol of fertility and well-being, or even as a representation of abundance. In ancient times, female figures were often idealized for their beauty, but during the Renaissance period, a more realistic approach emerged. In the 19th century, female figures were portrayed in a romantic style. Even today, the female body continues to hold a significant place in art. This research focuses on the representation of women in the art world, analyzing how the image of women has evolved throughout the history of art. The study provides examples of different depictions of the female body in various periods and references important painters from Western art history. It employs a qualitative research approach, including a literature review.

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Neoklasicistní dekorativní umění ve střední Evropě v éře Marie Terezie a Josefa II.: Transkulturalita, nebo kulturní reprodukce?

Neoklasicistní dekorativní umění ve střední Evropě v éře Marie Terezie a Josefa II.: Transkulturalita, nebo kulturní reprodukce?

Author(s): Pavel Suchánek,Tomáš Valeš / Language(s): Czech Issue: 01/2018

This paper considers forms of cultural transfer in decorative design in Central Europe in the second half of the 18th century, focussing on works that combine aspects of both free creative art and artisan craftsmanship. Based on a detailed analysis of a number of works (or parts thereof), the authors show that trends in decoration that had hitherto been broadly interpreted as a somewhat uninventive adoption of fashionable French graphic pattern-books and picture albums in the “goût grec” style (Jean François de Neufforge, Jean-Charles Delafosse et al.) in fact represented an innovative quest for an original modern synthesis taking its inspiration from classical Roman art (Giovanni Battista Piranesi, Giocondo Albertolli, Carlo Antonini) and developing ideas emerging from the recently introduced teaching of artistic design at the Vienna Academy and from circles close to the imperial court (Johann Baptist Hagenauer, Ignaz Josef Würth et al.). The whole phenomenon in considered within the wider context of official cultural policy at the time of Maria Teresa’s and Joseph II’s economic and administrative reforms and is interpreted as one of a number of processes and strategies which, for various reasons, led to a reduction in transcultural transfer. Decorative design in Central Europe in the latter half of the 18th century thus paid more than lip-service to the ideal of universal culture in the sense of transculturality, interpreting it in a specifically local, middle-European and to some extent “nationalized” way – and, from a historical perspective, with extraordinary success.

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Музей народного мистецтва в Отрембусах. Значення діяльності Маріана Покропка для вивчення українського мистецтва в Польщі

Музей народного мистецтва в Отрембусах. Значення діяльності Маріана Покропка для вивчення українського мистецтва в Польщі

Author(s): Zinaida Kosytska / Language(s): Ukrainian Issue: 12/2024

Activities of the Polish researcher, Doctor habilitatus Marian Pokropek (1932–2023), professor of the University of Warsaw, are well known in European countries and even more widely in the world, in particular, in Asia and the USA. The scientist gained the fame as a professional ethnographer and a tireless collector of folk art already in the 20th century. The heritage of Ukrainian folk craftsmen is preserved in his private Museum of Folk Art in Otrębusy, which was founded in 1996. The museum exhibits include icons on glass, Hutsul tiles, woven and embroidered carpets and rushnyky, etc. among many works. These displays have been presented repeatedly at numerous exhibitions in Poland. The professor organized the exhibition "Ukrainian Folk Art in the Collection of the Museum in Otrębusy. Ukraińska sztuka ludowa w zbiorach Muzeum Sztuki Ludowej w Otrębusach" (22 May 2022) in the first months of the war, after the invasion of Russian troops in Ukraine in February 2022. The scientist also greatly contributed to the study of Ukrainian art in his collection. During the war, this collection located in the territory of Poland is an extremely valuable material for the study of folk art of Ukraine.

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Ana Janevski et al, editors. Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology

Ana Janevski et al, editors. Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology

Author(s): Hanna Chuchvaha / Language(s): English Issue: 1/2023

Review of: Ana Janevski et al, editors. Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology. Foreword by Glenn D. Lowry, The Museum of Modern Art, 2018. Distributed by Duke UP. Primary Documents 9. 408 pp. Illustrations. References. C-MAP network list. Index. $40.00, paper.

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SCULPTURE ELEMENTS FROM THE MONASTERY OF SAINT JOHN VLADIMIR IN THE MUSEUMS OF TIRANA
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SCULPTURE ELEMENTS FROM THE MONASTERY OF SAINT JOHN VLADIMIR IN THE MUSEUMS OF TIRANA

Author(s): Elio Hobdari / Language(s): English Issue: 01/2021

The church of the monastery of St. John Vladimir near Elbasan, in condition of today’s preservation, holds a considerable collection of sculptural elements of different historical periods [Tab. I, 1]. Most of them are reused in its body, while others are located in the courtyard of the monastery. Only the sculptural elements with the inscriptions of the reconstruction of Prince Karl Topia, in three languages and the plates with his emblem, have been published, always in an epigraphic and not architectural context.

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Compte rendu du colloque international Early Modern Exemplary Drama Pra-gue, 12–14 octobre 2017

Compte rendu du colloque international Early Modern Exemplary Drama Pra-gue, 12–14 octobre 2017

Author(s): Jean-Frédéric Chevalier / Language(s): French Issue: 02/2017

À l’occasion du 300e anniversaire du décès du poète dramatique tchèque Carolus Kolczawa S.  J. (1656–1717), l’Académie des Sciences de la République tchèque (Institut d’Histoire, Institut de Littérature tchèque, Centre des Études Classiques à l’Institut de Philosophie), en collaboration avec la Faculté des Arts de l’Université Charles, a organisé un colloque international à la Vila Lanna les 12 et 13 octobre 2017 intitulé Early Modern Exemplary Drama. Les trois organisateurs du colloque, Kateřina Bobková-Valentová, Magdaléna Jacková et Josef Förster, ont souhaité s’interroger sur « l’exemplarité » des drames écrits et/ou joués en latin dans un cadre scolaire du XVIe au XVIIIe siècle en Europe. Ce colloque se situait ainsi dans le prolongement de la parution, à Prague en 2015 et 2016, de deux volumes d’éditions critiques, avec traduction et présentation, de pièces jésuites.1

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LO STEMMA DEI CASTRIOTA SCANDERBEG IN FRAMMENTI PERGAMENACEI DI GALATINA E SOLETO
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LO STEMMA DEI CASTRIOTA SCANDERBEG IN FRAMMENTI PERGAMENACEI DI GALATINA E SOLETO

Author(s): Luigi Galante / Language(s): Italian Issue: 01/2022

Durante una ricerca, in archivi pubblici e privati, capita, a volte, e con un pizzico di fortuna, di scoprire frammenti in pergamena e fogli di altri codici inseriti come “rinforzo” nelle legature di libri. Nel corso di uno studio nell’archivio della Basilica di S. Caterina d’Alessandria in Galatina, sono appunto emersi alcuni fogli e frammenti inediti in pergamena; essi appartenevano a vecchi manoscritti oggi perduti, e per nostra fortuna, sono stati riutilizzati come coperta di altri libri a stampa del XVI - XVIII secolo.

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THE QUESTION OF HERESY IN THE MEDIEVAL ALBANIAN BALLAD OF THE RESURRECTION: “JUS CANONICA” VERSUS “IUS LAICA’
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THE QUESTION OF HERESY IN THE MEDIEVAL ALBANIAN BALLAD OF THE RESURRECTION: “JUS CANONICA” VERSUS “IUS LAICA’

Author(s): Danja Hobdari,Shaban Sinani / Language(s): English Issue: 02/2022

The three are main motifs of Albanian medieval popular ballads: there are three basic motifs in the fund of medieval Albanian ballads: 1. The motif of the sacrifice (human sacrifice, immurement in a bridge or castle): over than 160 versions throughout the Albanian historical space; 2. The motif of the return (recognition, the motif of Odysseus), in two main archetypes: “Constantine the Little" and “Song of Ago Ymeri 3. The motif of the resurrection, which is found in Arberesh and Arvanites settlements and in all the provinces of historical Arber.

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The re-construction of urban space in the place between art and architecture: Selected paradigms of in situ art of the period 1950–2000

The re-construction of urban space in the place between art and architecture: Selected paradigms of in situ art of the period 1950–2000

Author(s): Aggela Mandilari / Language(s): English Issue: 365/2022

This study investigates in situ art of recent art history and its potential regarding the reconstruction of public space and its meanings. Paradigms of art and architecture conjugation in site specific interventions are examined with a view to answer questions such as the transformative role art can play when it constitutes a plastic phenomenon functioning in a complementary or reactive way as a part of the urban and social space. In situ’s art sculptural objects, due to their transitional form, serve as metaphors for space and time and their condition of constant change in the everyday life of the city. They constitute a physical input in the urban space that seeks to redefine its material boundaries and highlight the interaction between the individual and the city seen as an incomplete entity in a constant re-casting. Through the practice of repetition and movement, sculptural objects are put in dialogue with the objects we come into contact daily, taking part into a new aesthetic reality. It is about a process of re-configurating of the everyday aesthetics of the city, challenging the relationship between art and architecture and thus offering new modes of spatialisation. By examining specific paradigms from the in situ art of the second half of the twentieth century (e.g. Aldo Van Eyck, Daniel Buren, Rachel Whiteread), this paper, seeks to unveil the process of activating the coexistence of the visible and the invisible, the inside and the outside, the private and the collective that this specific artistic process offers in material terms. The main question that this paper seeks to answer is how in situ art- e specially when oscillating between art and architecture- affect the everyday flow of the undifferentiated space and time? How does it shape the coexistence and interaction between city’s objects and subjects? Which alternative – discursive – reality does it offer?

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Nové poznatky o niekdajšom prikostolnom múzeu v Marianke

Nové poznatky o niekdajšom prikostolnom múzeu v Marianke

Author(s): Radomír Sabol / Language(s): Slovak Issue: 1/2023

The aim of the article is to present the latest findings on the history and contents of the so-called nighmuseum in Marianka. The collection of objects has a long tradition in Marianka, which dates back to the Pauline pilgrim treasury. The museum in question was founded by the Comforter Brothers order in 1940 and disappeared with the dissolution of the monastery in 1950. In-depth research based on brief reports in the pilgrimage magazine Mariatál and the discovery of historical photographs by Ovidius Faust, has succeeded in greatly expanding the state of knowledge. The photographs specifically visualize two additional rooms of the museum and depict both preserved and lost works of art. Some of them can still be found in Marianka, others have been proven to have made their way into the collections of the Museum of the City of Bratislava. The photographs of Ovidius Faust were taken in 1960, thus proving that the definitive demise of the museum‘s exhibitions was postponed to a later period than previously assumed.

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Elisabeth Leube-Payer, Joseph Ignaz Mildorfer 1719–1775: Akademieprofessor und Savoyisch‑Liechtensteinischer Hofmaler

Elisabeth Leube-Payer, Joseph Ignaz Mildorfer 1719–1775: Akademieprofessor und Savoyisch‑Liechtensteinischer Hofmaler

Author(s): Michael Yonan / Language(s): English Issue: 01/2013

Review of: Elisabeth Leube-Payer, Joseph Ignaz Mildorfer 1719–1775: Akademieprofessor und Savoyisch‑Liechtensteinischer Hofmaler, Wien  – Köln  – Weimar: Böhlau 2011, 318 pages, 188 illustrations (55 black-white, 133 color). ISBN 978-3-205-78626-9

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Italská opera mezi Prahou a Drážďanami v druhé polovině 18. století

Italská opera mezi Prahou a Drážďanami v druhé polovině 18. století

Author(s): Marc Niubo / Language(s): Czech Issue: 01/2012

Despite the state borders, and the different socio -economical and cultural contexts, productions of Italian opera in Prague and Dresden become considerably interconnected due the activity of the impresario Giuseppe Bustelli. During his directorship (1764–1777 in Prague, 1765–1777 in Dresden) and even in the next decade, more than 50% of the repertoire was shared. Furthermore, some of the artists performed in both cities, and the same or similar adaptations of operas were used. The main difference in repertoire consisted in opera seria productions in Prague until 1777, whereas in Dresden only opera buffa was staged since 1765. Analyses of selected works reveal some of both similar and different performing strategies and their aesthetical, practical as well as political connections.

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