发布求助
文献互助 智能选刊 最新文献

SOURCE-NOTES IN THE HISTORY OF ART最新文献

筛选
英文 中文
Keeping, Saving, and Remembering: Manuel Doroteo Carvajal’s Trompe l’Oeil Autograph Drawings as Elements of Rhetorical Visual Strategy during the Colombian Civil Wars of the 1850s and 1860s 保存、保存和记忆:19世纪50年代和60年代哥伦比亚内战期间，曼努埃尔·多罗泰奥·卡瓦哈尔(Manuel Doroteo Carvajal)的错视画签名画作为修辞视觉策略的元素
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714715
Verónica Uribe Hanabergh
{"title":"Keeping, Saving, and Remembering: Manuel Doroteo Carvajal’s Trompe l’Oeil Autograph Drawings as Elements of Rhetorical Visual Strategy during the Colombian Civil Wars of the 1850s and 1860s","authors":"Verónica Uribe Hanabergh","doi":"10.1086/714715","DOIUrl":"https://doi.org/10.1086/714715","url":null,"abstract":"Manuel Doroteo Carvajal (1819–72) was a mid-nineteenth-century Colombian painter, and author of two sketchbooks currently archived at the Museo Nacional de Colombia that contain more than one hundred drawings including portraits, genre scenes, landscapes, illustrations for children’s fables, flowers, and fruits. The first journal is dated July 1848 and ends at the beginning of the 1870s. Among his approaches to the visual, Carvajal included several trompe l’oeil drawings in both albums.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80329287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editor’s Note: The Spice of Life 编者注:生活的调味品
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714710
John Cunnally
{"title":"Editor’s Note: The Spice of Life","authors":"John Cunnally","doi":"10.1086/714710","DOIUrl":"https://doi.org/10.1086/714710","url":null,"abstract":"For those who have come to expect a refreshing mixture from Source in terms of subject, medium, and period, this quarter’s issue will not disappoint. Gothic architecture, Venetian guilds, Michelangelo, eighteenthcentury tapestry, cinema in the service of art criticism, South American painting in the nineteenth century, and the leisure reading of a French impressionist make up the bill. We do not claim to rival Cleopatra in sex appeal, but we too may say that age cannot wither nor custom stale our infinite variety! Marek Walczak calls attention to the motif of ropes which appear among the carved stone decorations of Gothic buildings in Poland from thefifteenth century. For example, a heavy cable of rope serves as a doorframe for the law students’ residence at JagiellonianUniversity in Krakow.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81614494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Michelangelo in Motion: Carlo Ludovico Ragghianti’s Critofilm Michelangiolo (1964) 运动中的米开朗基罗:卡罗·卢多维科·拉吉安蒂的评论电影《米开朗基罗》(1964)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714717
Joséphine Vandekerckhove
{"title":"Michelangelo in Motion: Carlo Ludovico Ragghianti’s Critofilm Michelangiolo (1964)","authors":"Joséphine Vandekerckhove","doi":"10.1086/714717","DOIUrl":"https://doi.org/10.1086/714717","url":null,"abstract":"In the years immediately following the SecondWorld War, Italy saw the production of many innovative art documentaries by filmmakers such as Luciano Emmer, Umberto Barbaro, Roberto Longhi, and Glauco Pellegrini. Several of these films were critically acclaimed for their experimental nature in leading film and art journals all over the world. Strikingly, prominent art historians like Roberto Longhi,MatteoMarangoni, Valerio Mariani, and Rodolfo Pallucchini showed great interest in art documentaries and often collaborated with film directors as scholarly advisers and screenwriters. Especially for Italian art historian Carlo Ludovico Ragghianti (1910–87), the medium of film not only was capable of","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78119553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Pierre Bonnard’s Books: A Catalogue with an Introduction 皮埃尔·博纳尔的书:目录及导言
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-03-01 DOI: 10.1086/714716
Lucy Whelan
{"title":"Pierre Bonnard’s Books: A Catalogue with an Introduction","authors":"Lucy Whelan","doi":"10.1086/714716","DOIUrl":"https://doi.org/10.1086/714716","url":null,"abstract":"Pierre Bonnard’s studio appears today much as it did at the time of the artist’s death in 1947. For decades his villa named Le Bosquet, in the southern French town of Le Cannet, lay abandoned owing to a legal dispute over Bonnard’s estate. When finally in 1968 the villa was purchased and subsequently restored by Bonnard’s family, his great-nephewMichel Terrasse even reported finding the artist’s paint-spattered clothes and hat still in the wardrobe.When I visited in 2015 there was also a collection of books and periodicals inside a cupboard in Bonnard’s studio. It contained enough items with dedications to Bonnard, markings that appear to be in his hand, or connections to his life, to suggest a collection that at least in","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83469680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Perceptions of Michelangelo’s Letter of 1542 解读米开朗基罗1542年的信
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712861
S. E. Kay
{"title":"Perceptions of Michelangelo’s Letter of 1542","authors":"S. E. Kay","doi":"10.1086/712861","DOIUrl":"https://doi.org/10.1086/712861","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88269824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Tintoretto’s Big Books 丁托列托的大书
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712863
Paul Barolsky
{"title":"Tintoretto’s Big Books","authors":"Paul Barolsky","doi":"10.1086/712863","DOIUrl":"https://doi.org/10.1086/712863","url":null,"abstract":"Although the dazzling and impulsive Venetian painter Tintoretto came to maturity in Venice toward the middle of the sixteenth century, when he began to paint a much-acclaimed cycle of pictures for the Scuola di San Marco, he had already achieved at least one masterpiece sometime earlier in the 1540s, when he painted Christ among the Doctors—a picture now in the museum of the Opera del Duomo in Milan that is worthy of our closest attention (fig. 1). Critics have recognized the painter’s explosive reinvention of the monumental Roman art of Michelangelo and Raphael and the scintillating appropriation of Titian’s shimmering chromatic art in Tintoretto’s tumultuous rendering of the Bible story that tells of how Jesus shocked his learned elders with prodigious learning.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82674647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
How Did Caravaggio Light His Subjects? 卡拉瓦乔如何照亮他的主题?
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712864
T. Thomas
{"title":"How Did Caravaggio Light His Subjects?","authors":"T. Thomas","doi":"10.1086/712864","DOIUrl":"https://doi.org/10.1086/712864","url":null,"abstract":"In recent years scholars have increasingly studied Caravaggio’s studio procedures, but no one to my knowledge has taken photographs of models with the purpose of demonstrating the light sources he used while painting. In their seventeenth-century biographies of the artist, Giovanni Pietro Bellori and Joachim von Sandrart both state that, while working in a darkened room, Caravaggio (1571–1610) illuminated his subjects with a single light source from above. Sandrart does not specify the type of illumination used by Caravaggio (he mentions “einiges kleines Liecht”—one small light), but in a highly influential translation of Bellori’s account, Howard Hibbard is more specific, referring to “lamps.” Bellori’s report reads as follows: “[Caravaggio] trovò una maniera di campirle [i.e., his models] entro l’aria bruna d’una camera rinchiusa,","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73105631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Patronage and Heraldry in the Tickhill Psalter (New York, NYPL, MS Spencer 26) 《提克希尔诗篇》中的赞助和纹章(纽约，纽约，MS Spencer 26)
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712859
A. Stanton
{"title":"Patronage and Heraldry in the Tickhill Psalter (New York, NYPL, MS Spencer 26)","authors":"A. Stanton","doi":"10.1086/712859","DOIUrl":"https://doi.org/10.1086/712859","url":null,"abstract":"The original patron or owner of a medieval manuscript may be possible to identify only in the most general way, if at all. The inclusion of certain saints in the calendar or litany of a devotional book may suggest that it was destined for a particular region or religious order; a painting of a kneeling figure may delineate the social station and gender of its owner. More specific information about original or subsequent owners is sometimes provided by colophons, calendar additions, or other inscriptions. Heraldic emblems in borders, line endings, or backgrounds are often taken to indicate family or corporate affiliations, sometimes pointing to a specific owner. For example, the tiny","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86123442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Addendum: Roxana or Not? 附录:是不是罗克珊娜?
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712865
J. Turner
{"title":"Addendum: Roxana or Not?","authors":"J. Turner","doi":"10.1086/712865","DOIUrl":"https://doi.org/10.1086/712865","url":null,"abstract":"In a previous note in this journal, I pointed to a remarkable gap in the reception history of the Villa Farnesina, Rome: Sodoma’s Nuptials of Roxana and Alexander the Great, commissioned for Agostino Chigi’s state bedroom in 1518 to 1519, remained off-limits for visiting artists and never appeared in drawings or printed guides. Vasari described it so inaccurately that I suggested he relied on a secondhand account, and Gaspare Celio’s 1638 guide to Roman art merely notes that “in the Bedrooms there are stories by Iacomo Sodoma of Siena and others.” Appreciation of Sodoma’s now-canonical fresco had to wait until the nineteenth century, when Michelangelo Prunetti declared it (albeit briefly) “veramente poetica, e sublime.” Richard Förster made a thorough iconographical study of the Roxana episode and argued for","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86800212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Editor’s Note: What We See Doth Lie 编者按:眼见为实
IF 0.3 3区 艺术学
SOURCE-NOTES IN THE HISTORY OF ART Pub Date : 2021-01-01 DOI: 10.1086/712858
John Cunnally
{"title":"Editor’s Note: What We See Doth Lie","authors":"John Cunnally","doi":"10.1086/712858","DOIUrl":"https://doi.org/10.1086/712858","url":null,"abstract":"Some years ago I taught History of Photography at Iowa State University (Dr. Emily Godbey now teaches that course), and sometimes citizens would visit my office asking me to comment on an antique photo they found in their attic or barn and to speculate about its market value. One woman brought in a nineteenth-century studio portrait of a family group. She believed it was an unknown and unpublished photograph of Abraham Lincoln, his wife, and children. If this assessment proved true, the image would certainly count as a valuable and historically significant discovery. I told her that the man in the picture did not look much like Lincoln to me but more important was the fact that the photo appeared to be a gelatin-paper cabinet card, a process not in use until at least ten years","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89224790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
首页 上一页 下一页 尾页
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整，为了账户安全，请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们：info@booksci.cn Book学术提供免费学术资源搜索服务，方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号：481959085
Book学术官方微信