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Compromiso ético, independencia intelectual y ayuda en momentos de crisis. España (1914–1939)

Author(s): Esperanza Guillén / Language(s): Spanish Issue: 1/2017

This article examines the relation between some Spanish intellectuals prominent in fields such as literature, philosophy, music or visual arts. The text analyzes how those bonds of friendship conditioned their professional careers and even their life in difficult times. In order to do that, I will follow the trajectory of Luis Bagaría, a caricaturist connected with almost all the protagonists of this article, which focuses, among other things, on the ideological independence of Miguel de Unamuno. The friendship of Manuel de Falla and Manuel Ángeles Ortiz, Federico García Lorca and Hermenegildo Lanz will also be examined. The text will also pay attention to how the musician intervened in order to prevent the killing of Lanz in Granada, something that did not work in the case of García Lorca. Moreover, I will develop the topic on the help of Picasso to many artists (among them Ángeles Ortiz) running away of the Spanish Civil War. Above all, this text will focus on the intellectual freedom and the ethical commitment of those, like Unamono and Falla, who were placed at a difficult position among the two sides confronted in this war.

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Narrative Ethics of Post-Modern Visual Culture between Chinese “Diors Series” and Western “Loser Series” in Comparative Perspective

Narrative Ethics of Post-Modern Visual Culture between Chinese “Diors Series” and Western “Loser Series” in Comparative Perspective

Author(s): Zheng Shaomin / Language(s): English Issue: 1/2019

The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.

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О назначении виньет, приложенных к поэтическим произведениям Г. Р. Державина

О назначении виньет, приложенных к поэтическим произведениям Г. Р. Державина

Author(s): Ye. G. Grigoryeva / Language(s): Russian Issue: 1/1989

Ставшее почти обязательным в работах, посвященных Г. Р. Державину, указание на «изобразительность», «картинность» его поэзии\инспирированное самим автором в «Рассуждении о лирической поэзии», как кажется, до некоторой степени противоречит его же настоятельному желанию видеть свои произведения проиллюстрированными. Если поэзия «ничто иное есть, как говорящая живопись», то для чего ее дополнять ж ивописью «неговорящей»? О простом повторении, реализации стихотворных картин речи быть не может согласно известному высказыванию по этому поводу Н. А. Львова: «Изограф < ...) не повторяет автора и не то же представляет в лицах первый, что второй написал в стихах. Сие повторение, довольно, впрочем, обычное, казалось ему плеоназмом». К этому свидетельству друга и единомышленника Д ерж авина нам придется еще не раз обратиться.

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Петриківка – давній осередок витинанки в Україні

Петриківка – давній осередок витинанки в Україні

Author(s): Zinaida Kosytska / Language(s): Ukrainian Issue: 9/2021

While studying the Ukrainian folk art, it is important to explore artistic traditions of individual centres. The article considers traditional motifs and compositions of folk paper-cutting art pieces, common in the village of Petrykivka (Dnipropetrovsk Region), an ancient core of paper-cutting art. Such home paper decorations have become widespread in the centre since the late XIXth to early XXth centuries. Among the well-known masters – fellow villagers who created paper cutting art pieces were Vasyl Vovk, Pelaheya Hlushchenko, Hanna Hrechanova, Antonina Avdieyenko, Nataliya Avdieyenko and other masters. The auctorial paper cutting art pieces under study demonstrates the combination of deep traditions of folk art and personal aesthetic tastes of each of the artists, which determined each time a distinct unique style. It is important that they have been passing on their experience to next generations. It is important that modern masters continue to pass on their experience to next generations.

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Myroslava M. Mudrak. Nova generatsiia i mystets'kyi modernizm v Ukraini

Myroslava M. Mudrak. Nova generatsiia i mystets'kyi modernizm v Ukraini

Author(s): Oleh S. Ilnytzkyj / Language(s): English Issue: 1/2022

REVIEW OF: Myroslava M. Mudrak. Nova generatsiia i mystets'kyi modernizm v Ukraini [The New Generation and Artistic Modernism in Ukraine]. Translated by Hanna Ianovs'ka, foreword by Heorhii Kovalenko, Lidiia Lykhach, project manager, Rodovid, 2018. 352 pp. Illustrations, List and Sources of Illustrations. Selected Bibliography. Index. Appendices.

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Ol'ha Ryzhova. Ikonopys u khudozhnii kul'turi Kyieva kintsia XVII-XVIII stolit': Monohrafiia

Ol'ha Ryzhova. Ikonopys u khudozhnii kul'turi Kyieva kintsia XVII-XVIII stolit': Monohrafiia

Author(s): John-Paul Himka / Language(s): English Issue: 2/2021

Ol'ha Ryzhova. Ikonopys u khudozhnii kul'turi Kyieva kintsia XVII-XVIII stolit': Monohrafiia [Iconography in the Artistic Culture of Kyiv at the End of the Seventeenth and in the Eighteenth Centuries: A Monograph]. Vydavnycho-polihrafichnyi tsentr “Kyivs'kyi universytet,” 2020. 464 pp. Illustrations. Bibliography. List of Illustrations.

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За книгата: Изкуството е любов. Избрани страници от домашния архив на Йордан Заимов

За книгата: Изкуството е любов. Избрани страници от домашния архив на Йордан Заимов

Author(s): Nevyana Doncheva-Panayotova / Language(s): Bulgarian Issue: 1/2022

Book review: Art Is Love. Selected Pages from Jordan Zaimov’s Personal Archives. Foreword and compilation by Raia Zaimova. Sofia, Gutenberg, 2021, 144 p.

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Adding to John W. Hayes`s Late Roman Pottery. Late Roman Light-Colored Wares with champlevé decoration from Histria revisited

Adding to John W. Hayes`s Late Roman Pottery. Late Roman Light-Colored Wares with champlevé decoration from Histria revisited

Author(s): Ioan Carol Opriș / Language(s): English Issue: 1/2022

This paper is presenting the very little-known late version of a specific ceramic class, i.e. the Late Roman Light- Colored Ware (LRLCW, in Turkish Açık Renkli Seramikler). It was introduced in the literature by John W. Hayes during the 1960s, following the excavations from Saraçhane/ St. Polyeuktos Church in Constantinople and resumed in his fundamental work, Late Roman Pottery (1972). Regarding the production area, J.W. Hayes postulated and continued to consider a South Aegean origin of the ware, in Knidos (Caria). Both recent finds and macroscopic features of the fabric might actually indicate the northeastern Aegean and (or) the southern shores of the Propontis, between Pergamon and Cyzicus. LRLCW is a ware characterized by a fine-textured, pale fabric, mostly cream or orange, and was produced between ca AD 420-450 and the early decades of the 7th century AD. The late version of LRLCW included high-footed dishes of quite different sizes. Their maximum diameter oscillates between 13-36 cm. The specific decoration of the plates is a typically champlevé one (in Turkish, they are called Kazıma-Kabartılı Seramikler), heralding a Middle-Byzantine ware from the end of the 12 th - 13th century. The catalogue included 30 pieces and a modern forgery from Odessos (nowadays Varna, Bulgaria). The latter is actually a copy of an ancient unidentified original. The known finds came from Constantinople, Nicaea, Zeitinliada and Parion, in the Propontis, from Methymna in Lesbos, from Pergamon, Allianoi, Sardis, Laodicea ad Lycum, and, finally, from Antiochia ad Orontem and Porphyreon, in the Eastern Mediterranean. Three more pieces were found in Histria and belong to contexts that could be dated during the last decades of the 6th century – early decades of the 7th century AD. The findspots were a street in the so-called ”Cetate” Sector and the northeastern annex of the Bishop’s basilica in Histria. In our opinion, it is most likely that such unusual tableware piggybacked the marble trade. The latter meant semifinished or finished pieces supplied along with specialized stonecutters from the Propontis (Proconnesus) or North Aegean, either for the Bishop’s basilica or for other churches of the city. The decorative repertoire is very diverse: venationes and venatores that remind the Sasanian Royal Hunt, wild beasts and mythological figures, religious scenes, all enclosed by secondary, repetitive geometric or vegetal patterns. Every dish is a unicum and all were made by highly skilled craftsmen. Besides the Sasanian artistic influences, the inspiration was offered by the Early Byzantine silverware (vasa argentea) from Constantinople. Late LRLCW with champlevé decoration seems to be a regional response to the large African ceramic plates that start reconquering the Eastern Mediterranean, the Aegean and the capital subsequent to the Justinian’s victory over the Vandals in AD 533-534. Typologically, they synthesized the high ring foot of ARSW Hayes 89-90 and some of the distinctive features of the large ARSW Hayes 104-105 dishes, produced and marketed during the 6th – first half of the 7th century.

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Творчеството на Ларс фон Триер и Томас Винтерберг – български медиен онлайн спектър

Творчеството на Ларс фон Триер и Томас Винтерберг – български медиен онлайн спектър

Author(s): Elitsa Mateeva / Language(s): Bulgarian Issue: 11/2022

This article aims to present how the Bulgarian online media interprets the work of Danish directors Lars von Trier and Thomas Vinterberg - creators of the 'Dogme 95' manifesto. The empirical basis is Bulgarian online spaces, whichreflect the biographies of the directors, the essence of 'Dogme 95', analyze theirfilms or describe their performances related to participation in international film festivals, receiving nominations and awards for certain cinematic works.

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Tеатралността, мислена като медийност, проблематизираща собствената си (а)реалия

Tеатралността, мислена като медийност, проблематизираща собствената си (а)реалия

Author(s): Valeriy Parlikov / Language(s): Bulgarian Issue: 11/2022

The theatrical, as used in this exposition, is the kind of becoming, which is about to lie that it is not the /real/ being, and succeeds in it with the help of a protocol of correct commune/nication of things. Theatricality will maintain its not being unequivocally a/reality, until being postulated as a convention, at which moment the addressee will function as a role construct (serving as model for its constellation with the initiator of the stated-ness). This way of comprehending involves the knowledge of conventionality which mechanizes the commune/nication, finds it realized, before having been thought of. The convention will pronounce the total correctness of comprehending the becoming, thus providing the norm of meaningfulness (of anything in display). For the needs of the exposition conventionality will be transposed to the area of communion and laid down as an unfinished protocol of (our actual) agreement. Until it is accomplished, it will not be known as a truth codification of what is stated by theatricality, but rather a kind of vitality, somewhat produced by way-of-media jointly lived world of now-statements.

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Медузата като муза (за „Живописта като непрекъснат сценарий“. Изложба на Богдан Александров в НХГ)

Медузата като муза (за „Живописта като непрекъснат сценарий“. Изложба на Богдан Александров в НХГ)

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 11/2022

Review of Bogdan Alexandrov's latest exhibition at the National Art Gallery, Sofia, called ‚Painting as a Continuous Script‘ (April-June 2022). Painter and conceptualist, artist and researcher, Bogdan Alexandrov presents his latest oil paintings, painted in 2022, in the series ‚Painting as a Continuous Script (Protocols for an Idea)‘. The exhibition, according to curator Diana Draganova-Shtir, includes some of Alexandrov's most significant works and highlights his place in contemporary Bulgarian art. Part of it has an anthological nature - earlier works from the period 2010-2021 are also included (the cycles Purgatorium, Palimpsest, Pareidolia – Staged portraits, Vertigo: Portraits without diagnosis, Continuous Writing, etc.), subordinated to the artist's main concept - research into the liminal human condition through his own method, which the artist calls ‚visual noise‘.

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Svibe - prilozi istraživanju rimske antike na području centralne Bosne

Svibe - prilozi istraživanju rimske antike na području centralne Bosne

Author(s): Tarik Silajdžić / Language(s): Bosnian Issue: 2/2022

The paper presents the results of the most recent archaeological excavations at the site of Svibe in Gornje Moštre near Visoko, which were conducted in October 2020, in the organization of the Regional Museum in Visoko. The aim of the research, which relied directly on the results of experimental archaeological excavations, was to expand the ground plan of architectural remains in order to determine the character of the building complex discovered in the previous campaign. During the excavation, 6 new test pits were opened, which revealed new parts of the wall foundations with a total length of almost 45 m, illustrating the complex architecture of the site and placing it simultaneously within the context of Roman villa architecture of Late Antiquity. A comparative analysis of the situation on the ground and the results of geophysical survey suggest that the discovered architectural remains could present the remains of a fortified rustic villa on the site, which according to the typological analysis of one part of the ceramic material, can be dated to the 2nd - 4th century AD. The discovered remains represent the first architectural finds of this type in the greater Visoko area and are of immense importance for the study of architecture, urbanism, economy, and general development of the area in the late Roman period. This site, fully excavated, could potentially answer the question of the cultural transformation of the Visoko basin from late antiquity to the early Middle Ages, shed ding light on the key questions of development and origin of the medieval Bosnian state in the early Middle Ages.

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Arta bogomilă şi simbolurile sale

Arta bogomilă şi simbolurile sale

Author(s): Anca Diaconescu / Language(s): Romanian Issue: 2/2011

The Bogomil art and its symbols is a study which tries to identify and classify the main motives and symbols that decorate the funeral monuments of the bogomils, the so- called stečak. These stečaks are mainly characteristic to Balkan countries (Bulgaria, Serbia, Bosnia, Dalmatia etc.), where the heretic religious movement of the bogomils had a great impact on culture and mentality. The decorative motives can be classified in four specific groups: a) animal decorative motives (the stag, hunting scenes etc.) b) vegetal decorative motives ( the grape vine, the lily etc.) c) cosmic decorative motives (the sun, the spiral etc.) d) human decorative motives (the man with the right hand raised up, the hora etc.) and e) other motives: the cross, the dove, the snake, the bow etc. Each symbol or motif has its own meaning and our attempt is to unfold the hidden language that hides behind their ornamental surface and put it in the right context.

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A divat-világ-rendszere. A magyar divatipar és politika 
viszonyának változásai 2010 és 2020 között

A divat-világ-rendszere. A magyar divatipar és politika viszonyának változásai 2010 és 2020 között

Author(s): Rita Bonifert / Language(s): Hungarian Issue: 30/2022

The Hungarian fashion industry has evolved over the past decade, between 2010 and 2020. Since Hungarian fashion is a part of the global creative field, its cultural producers’ opportunities and its structural changes cannot be examined without regard

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Inscripţiile în limba română de la schitul Fedeleşoiu, jud. Vâlcea

Inscripţiile în limba română de la schitul Fedeleşoiu, jud. Vâlcea

Author(s): Ruxandra Lambru / Language(s): Romanian Issue: 1/2011

The aim of the present article is to bring into attention a few observations regarding the inscriptions in Romanian from the Fedelesoiu mural painting, starting from the iconographic repertoire in the county of Valcea, from Constantin Brâncoveanu‘s time, realized by Corina Popa, Ioana Iancovescu, Elisabeta Negrău, Vlad Bedros. The article points out a few caracteristics of the texts, indicating older sources (from the XVIth century). The Bible 1688 is not yet a source from the contemporary paintings and religious inscriptions.

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O XVII-WIECZNYCH IKONACH WARSZTATU MUSZYŃSKIEGO W MUZEUM PARAFIALNYM W GRYBOWIE

O XVII-WIECZNYCH IKONACH WARSZTATU MUSZYŃSKIEGO W MUZEUM PARAFIALNYM W GRYBOWIE

Author(s): Agnieszka Gronek / Language(s): Polish Issue: 118/2022

There is an interesting collection of icons in the Parish Museum in Grybów. Although their exact provenance is unknown, it is clear that they are here thanks to Jan Solak, the parish priest of St. Kateryna’s church in Grybów from 1921 to 1961, who moved them from nearby churches deserted after Operation Vistula. On the basis of stylistic analysis and comparative studies, it was possible to see that most of them came from workshops which operated in Lemkovyna during the 17th century. The studies presented here concern two previously unknown icons from the circle of Muszyna painters. These are two fragments of the apostolic tier from an unknown church. As a result of detailed research, it was possible to identify the stylistically closest works (from Matysowa, Banica, Brunary), assign the time of creation (c. 1640), find the next part of the described apostolic row in the Regional Museum in Nowy Sącz and determine its provenance (Brunary).

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SCENY BIBLIJNE NA ŚREDNIOWIECZNYCH PIECZĘCIACH ŚLĄSKICH PROBOSZCZÓW

SCENY BIBLIJNE NA ŚREDNIOWIECZNYCH PIECZĘCIACH ŚLĄSKICH PROBOSZCZÓW

Author(s): Jagn Rita SOBEL / Language(s): Polish Issue: 118/2022

This article deals with the appearance of biblical scenes on the medieval seals of Silesian parish priests, which is one of the least examined areas of sigillography. Six imprints from the 13th through 15th centuries are analysed, belonging to Wojslaw, the parish priest of Otmuchow; Bertold, the parish priest of Nowy Kosciol; Stefan, the parish priest of Nysa; Jan, the parish priest of Wegry; Tomasz, the parish priest of Strzelin; and Jan Bawde, the parish priest of St Peter’s Church in Legnica. The above-mentioned analysis confirms the adoption of biblical scenes on parish sigils. Moreover, all six cases exhibit references to the New Testament. Five of the seals show events known from the Gospel: the Annunciation to the Blessed Virgin Mary or the baptism of Jesus (the only reproduction available today is blurry, preventing a clear interpretation of the image it represents), the Flight into Egypt, the Crucifixion and Resurrection of Jesus Christ and his meeting with St Thomas. One of the imprints portrays the scene of Archangel Michael’s Battle with the Dragon as it is described in the Apocalypse of St John. The iconography of those sigils is related to the iconosphere that surrounded its disposers. Such a measure proved that a parish priest’s choice of sigil image was not always influenced by the patrocinium of his parish church; sometimes the images represented only their personal piety. However, the scarcity of those relics proves that they are exceptions among the seals of Silesian parish priests.

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Instrumente muzicale în picturile și miniaturile de la Mănăstirea Dragomirna
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Instrumente muzicale în picturile și miniaturile de la Mănăstirea Dragomirna

Author(s): Eduard Rusu / Language(s): Romanian Issue: 2/2021

The history of old Romanian music is not studied to a great extent and is not known in detail because of the scarcity of sources. However, by combining all kind of data, one can find useful and important information. One of the available sources is the mural painting of various churches, where several musical instruments were represented in different iconographic scenes. We can add to these the miniatures found in some manuscripts, which also provide valuable information. A place where we can see musical instruments both in mural paintings and miniatures is Dragomirna Monastery. Musical instruments, such as trumpets, drums, or lutes are depicted in the church painting and in the miniatures of Anastasie Crimca’s Psalter. They give us information about our musical past. In this article, we try to identify them as accurately as possible, and to establish their role in the musical-artistic context of early 17th-century Moldavia.

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De la Bunești la București. Epitaful uitat al lui Ștefan Tomșa II și istoria „fragilă” a țesăturilor de cult pictate
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De la Bunești la București. Epitaful uitat al lui Ștefan Tomșa II și istoria „fragilă” a țesăturilor de cult pictate

Author(s): Emanuela Cernea / Language(s): Romanian Issue: 2/2021

The study discusses a particular artistic typology in the context of the medieval patrimony of the Romanian Principalities: liturgical veils painted on silk with the theme of the Lamentation of the Lord. Descriptions of this type of pieces are scarce in specialized literature, and the surviving items are poorly preserved because of an extremely vulnerable working technique, which unfortunately condemns them to oblivion. Our research proposes the recovery of three such items kept in the collection of the National Museum of Art of Romania. They are among the few such textiles known to us. One of them, dating back to 1613, is meaningful for Prince Ștefan Tomșa II’s genealogy and especially for the iconography of the Lamentation of the Lord in Romanian art.

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Impresionismul în literatură

Impresionismul în literatură

Author(s): Adriana Cristian / Language(s): Romanian Issue: 1/2007

Having as a starting point the existence of similar tendencies in the evolution of arts, I will try to demonstrate that the impressionistic methods were used not only in painting, but also in literature, in Turgenev’s and Flaubert’s novels. The above-mentioned novelists used the fragmental event descriptions, and the result was a sequence of unlinked scenes, of instant sketches, corresponding to preliminary drawings in fine arts. In Turgenev’s and Flaubert’s works, in scenery descriptions, the shadow is not always black, but it is often coloured (blue, grey, green etc.), as Delacroix painted it. Turgenev and Flaubert did not render precise outlines of the described objects as in the paintings of the impressionists. They used the imperfect tense in order to extend the duration of the events. The basic aesthetic principle of the impressionistic art is called discontinuity and Turgenev’s and Flaubert’s methods are in accordance with it.

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