Search - The Actual Problems of History and Theory of Art

1. M. GIORGINI, A.M. PANZERA. Women in Art: (2020 The 20th-Century and Contemporary Art); ... exhibitions and ventures dedicated to women artists. Just to give the latest examples (2019/2020): the great travelling exhibition of Natalia Goncharova (London, Tate Modern — Florence, Palazzo Strozzi ...; Created on 13 November 2020
2. F. ZISA. The Impact of the Ancient “Arrotino” Model on the “Crouching Boy” Type: (2020 Art of the Ancient World); ЦИЗА ФЛАВИЯ (Университет «Кора» в Энне, Италия). Влияние скульптурного образца «Арротино» на создание типа «Скорчившегося мальчика» FLAVIA ZISA (The Kore University of Enna, Italy). The Impact of the ...; Created on 12 November 2020
3. Ivan Tuchkov (Lomonosov State university): (Organizing Committee); ... for “Lazarev conrefence”. In 1988 he completed his PhD “Monumental and decorative paintings in Roman Renaissance villas and the tradition of antiquity (Florence and Rome)” under the supervision by ...; Created on 03 January 2016
4. Renaissance Motifs in the Contemporary Art of St. Petersburg Academic Artists: (2015 Russian Art of the 20th Century and Contemporary Russian Art); Svetlana Gracheva Saint Petersburg Academy of Arts, Russia Since the foundation of the Russian Imperial Academy of Arts, its education system has been mainly based on the study of the Renaissance ...; Created on 02 January 2016
5. The Renaissance of the Relief Mosaic: Stone Figures of Fabergé Workshop and His Contemporaries: (2015 Western Art ca. 1600–1900); ... there was Paolo Ricci at Opificio delle pietre dure (Florence) who made three figures in this technique between 1873 and 1881. In France (Paris), we should note Auguste Alfred Vaudet who created a bust ...; Created on 02 January 2016
6. Traditions of the Renaissance in Italian Architecture of Neoclassicism in the Second Half of the 18th Century: (2015 Western Art ca. 1600–1900); ... which united the architects Alessandro Galilei and Ferdinando Fuga from Tuscany. All their works were labeled by traits of influence of the late stage in the Renaissance in Florence, namely mannerism. ...; Created on 02 January 2016
7. “Vision of St. Bernard” by Filippino Lippi and Its Legacy in the Florentine Painting of the Early 1500s: (2015 Renaissance Art); ... was a common subject for the Florentine art since the mid-Trecento. The iconography remains almost unchanged from the polyptych made by Matteo di Pacino (1360s, Galleria dell’Accademia, Florence) to the ...; Created on 02 January 2016
8. The Image and the Word in Works by Piero di Cosimo: (2015 Renaissance Art); ... compositions on mythological theme (in particular, it is true for the “Liberation of Andromeda”, ca. 1510–1513, The Uffizi, Florence; “A Satyr mourning over a Nymph”, ca. 1495, the National Gallery, London). ...; Created on 02 January 2016
9. The Vatican Palace and the Formation of the Roman Palace Type in the Second Half of the 15th Century: (2015 Renaissance Art); ... everywhere. In this respect, Rome provides a very interesting and exemplary evolution of this typology. Roman palace type is not so articulated as the ones at Florence and in other artistic centers. In the ...; Created on 02 January 2016
10. The Venetian ‘Sacra Conversazione’ Type in Works of Post-Byzantine Painting: (2015 Renaissance Art); ... of the type, which began to take place in Florence from the late 1430s onwards, evident in works by painters such as Filippo Lippi, Fra Angelico and Domenico Veneziano. The new composition, conforming ...; Created on 02 January 2016
11. Nalimova, Nadezhda A. Casts from Baia: between the Original and Copy (Researching Greek Bronze Sculpture of the Classical Period): (Art of the Ancient World); ... C. The Bronze Torso in Florence: an Exact Copy of a Fifth Century B.C. Greek Original. American Journal of Archaeology. 1978, vol. 82, pp. 101–104. Miniero P. Baia in History. Baia. The ...; Created on 02 March 2015