eBooks de Historia del arte, página 10 de 393

WHEN we look at ancient works of art we habitually treat them not merely as objects of sthetic enjoyment but also as successive deposits of the human imagination. It is indeed this view of works of art as crystallised history that accounts for much of the interest felt in ancient art by those who have but little sthetic feeling and who find nothing to interest them in the work of their contemporaries where the historical motive is lacking and they are left face to face with bare sthetic values.I once knew an old gentleman who had retired from his city office to a country housea fussy, feeble little being who had cut no great figure in life. He had built himself a house which was preternaturally hideous; his taste was deplorable and his manners indifferent; but he had a dream, the dream of himself as an exquisite and refined intellectual dandy living in a society of elegant frivolity. To realise this dream he had spent large sums in buying up every scrap of eighteenth-century French furniture which he could lay hands on. These he stored in an immense upper floor in his house which was always locked except when he went up to indulge in his dream and to become for a time a courtier at Versailles doing homage to the du Barry, whose toilet-tables and what-nots were strewn pell-mell about the room without order or effect of any kind. Such is an extreme instance of the historical way of looking at works of art. For this old gentleman, as for how many an American millionaire, art was merely a help to an imagined dream life.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the masters prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavins papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.

As early as the 1950s, Professor Irving Lavin was recognized as a major voice in American art history. His sustained production of seminal scholarly contributions have left their mark on an astonishingly wide range of -subjects and fields. Bringing these far-reaching publications together will not only provide a valuable resource to scholars and -students, but will also underscore fundamental themes in the history of art - historicism, the art of commemoration, the relationship between style and meaning, the -intelligence of artists - themes that define the role of the visual arts in human communication. Irving Lavin is best known for his array of fundamental publications on the Baroque artist Gian Lorenzo Bernini (1598-1680). These include new discoveries and studies on the masters prodigious childhood, his architecture and -portraiture, his invention of caricature, his depictions of religious faith and political leadership, his work in the -theatre, his attitude toward death and the role of the artist in the creation of a modern sense of social responsibility. All of Professor Lavins papers on Bernini are here brought together in three volumes. The studies have been reset and in many cases up-dated, and there is a comprehensive index.

Una selección de artículos y escritos monográficos de J.F. Yvars en los que reflexiona acerca de distintos aspectos del arte del siglo XX, ofreciéndonos una mirada transversal de este mundo: del artista al coleccionista, de la obra a la reflexion critica.Moviendose entre tiempos y lugares, viajando a los rincones mas reconditos del arte, los ensayos reunidos en Virutas de color trazan un itinerario lleno de contrastes. En los articulos monograficos que conforman la primera parte de este volumen, Yvars reflexiona en torno al cambio de paradigma artistico en los albores del arte abstracto a traves de la obra de Andre Masson y el artista Rafols-Casamada. Se adentra asimismo en cuestiones que atañen a la teoria estetica a traves de dos referentes ineludibles de la contemporaneidad: Ernst Gombrich y Cesare Brandi. A su vez, la segunda parte del libro recoge una seleccion de articulos -algunos de ellos publicados anteriormente en La Vanguardia yampliados para esta edicion; otros, ineditos- mediante la cual Yvars dialoga con figuras fundamentales de la historia, la critica del arte y el coleccionismo.Reseñas: J. F. Yvars ha hecho del arte su camino en la vida.El PaisYvars lleva mas de medio siglo descifrando la experiencia estetica en palabras. Sergi Doria, ABC

Eu poderia fazer muitas histórias com o que ela disse, posso ver uma dúzia de imagens. Eu sei que Virginia não virá pelo jardim, mas olho naquela direção para vê-la. Eu sei que ela está morta, mas fi

In "Virginia Woolf: A Conversation with Walter Sickert, the Renowned English Painter," readers are invited into an innovative intellectual exchange between two towering figures of the early 20th century. Woolfs prose is characterized by its stream-of-consciousness style and modernist sensibilities, as she deftly weaves together themes of aesthetics, identity, and artistic ambition. The book explores Sickerts influence on Woolfs understanding of visual art, encapsulating a vibrant dialogue that reveals the subtleties of the creative process in both literature and painting. Through this conversation, Woolf captures the essence of the Bloomsbury Groups artistic milieu, establishing a unique context in which literary and artistic innovation blossomed. Virginia Woolf, a central figure in modernist literature, often grappled with the intersections of art, gender, and societal constraints, which were prominent in a patriarchal society. Her deep admiration for Sickerts work is reflective of her own artistic endeavors and her desire to challenge traditional forms. Woolfs own experiences as a member of the avant-garde Bloomsbury Group enriched her perspective, allowing her to engage with artists and thinkers who would shape her literary vision. This book is highly recommended for those interested in the interplay between literature and the visual arts, as well as anyone eager to understand Woolfs sophisticated reflections on creativity. It offers a compelling exploration of how artistic dialogues inspire literary expression, making it an essential read for scholars, students, and enthusiasts of modernist literature.

Walter Sickert was a british painter, printmaker, teacher and writer of German birth. Sickert was one of the most influential British artists of this century. He is often called a painters painter, appealing primarily to artists working in the figurative tradition; there are few British figurative painters of the 20th century whose development can be adequately discussed without reference to Sickerts subject-matter or innovative techniques. He had a direct influence on the Camden Town Group and the Euston Road School, while his effect on Frank Auerbach, Howard Hodgkin and Francis Bacon was less tangible. Sickerts active career as an artist lasted for nearly 60 years. His output was vast. He may be judged equally as the last of the Victorian painters and as a major precursor of significant international developments in later 20th-century art, especially in his photo-based paintings. Adeline Virginia Woolf (18821941) was an English writer who is considered one of the foremost modernists of the twentieth century and a pioneer in the use of stream of consciousness as a narrative device.

In "Virginia Woolf: A Conversation with Walter Sickert, the Renowned English Painter," Woolf intricately weaves a tapestry of artistic and literary exploration, presenting a fictional dialogue with the esteemed painter Walter Sickert. This work delves into the complexities of artistic identity, creativity, and the intertwining worlds of literature and visual art. Woolfs signature stream-of-consciousness style brings a fluidity to the conversation, allowing for deep reflection and insight into both Sickerts artistic philosophy and her own literary ambitions. Set against the backdrop of early 20th-century modernism, the book captures the zeitgeist of an era ripe with innovation and dialogue among the arts. Virginia Woolf, a pivotal figure in the literary canon, was deeply influenced by her engagement with the Bloomsbury Group and the avant-garde movements emerging in her time. Her admiration for Sickert, an enigmatic figure in the English art scene, is highlighted by her personal encounters and correspondences. Woolfs nuanced understanding of visual art, shaped by her exploration of lifeAos emotional intricacies, provides a fertile ground for this imaginative conversation, enriching readers appreciation of both art and literature. This book is a must-read for anyone intrigued by the intersections of art and literature. Woolfs eloquent prose and thoughtful engagement invite readers into a dialogue that challenges conventional boundaries, making it a significant contribution to both literary scholarship and the study of visual arts. With its unique perspective, this work not only sheds light on Woolfs artistic affiliations but also compels readers to appreciate the interconnectedness of cultural expressions.

Este livro aborda dois conceitos de alto impacto na contemporanea: violencia e internet. Apresenta algumas questes polemicas, como bullying, racismo, pedofilia, pornografia, homofobia, com o objetivo de incentivar a reflexo e o debate entre pais, mes, filhos e filhas; professores, professoras, alunos e alunas. Oferece orientaçes de como podemos nos precaver da violencia virtual e de como lidar com a internet no lar e na escola.

Viola Caipira para iniciantes, com melodias, cifras e tablatura. Afinação Rio Abaixo.

A maior produtora de vinho no Brasil vem se destacando na produção de rótulos de alta qualidade e atividades de enoturismo nos últimos anos! Agora, em uma pesquisa recente e aprofundada, um especiali

O livro é uma introdução cujo objetivo simples e prático, é o de informar e introduzir novos apreciadores bem como aqueles que já conhecem as delícias do vinho e querem aprofundar conhecimentos sobre

VIE Festival was founded in 2005 with the goal of crossing the contemporary world, of intercepting new identities and subjectivities which stand out in the field of live performance. It takes place yearly every October in Emilia-Romagna Region, and it is organized by Emilia Romagna Teatro Fondazione, National Theatre based in Modena. The project spring from the ten-year lucky experience of Le vie dei festival that, from 1994 to 2004, has hosted some of the most interesting proposals of Italian and international summer festivals. Mixing languages and genres, showing foreign great theatrical experiences without forgetting the important Italian experimental theatre scene, Le vie dei festival proposed the works of several artists (Carmelo Bene, Thierry Salmon, Lev Dodin, Peter Brook, Maguy Marin, Joseph Chaikin, Philip Glass, Robert Wilson e Peter Stein ). VIE Festival focuses on the contemporary creation, wants to give to the look the responsibility of finding, of searching where the strength of the new is hiding today, the artists who are able to explore the areas of contact between the performing arts, the expressive areas where leaving the theatre interacting with dance, music, visual arts and cinema. The idea of modernity is combined immediately with that of complexity, something that is in constant motion and fast in its indefiniteness. The artistic research acts vertically, digging in depth. It does not indicate solutions, but rather raises some doubts. It is inclined to the uncertain. At the base of the research for new languages there is always an urgent reflection on the contemporary world, a need for new contents. The festival aims to offer a wide range of artists who will confront themselves with a plurality of spaces, aiming at showing layers of artwork, poetry and looks which arouse the curiosity and urgencies, including the less codified. The plurality of languages will involve different audiences, aiming at erasing the prejudice on that contemporary is equivalent to incomprehensible and elitist. The Festival also stands out as a place of production or co-production of original works that will be created on purpose and then will enter the international circuit. This 11th edition take place in Modena, Bologna, Carpi and Vignola, and hosts the creations directed by Levan Tsuladze, Berardi Casolari, Anna Peschke, Virgilio Sieni, Gabriella Salvaterra, Nanfang Song And Dance Company, Mathurin Bolze, Nelson Valente, Pascal Rambert, Maguy Marin, Cuocolo / Bosetti, Michele Abbondanza, Snejanka Mihaylova, Motus, Giovanna Marini, Big Action Money, Marco Martinelli / Ermanna Montanari, Romeo Castellucci, Frank Van Laecke / Alain Platel / Steven Prengels. VIE Events section gives the opportunity to take part in some in-depht analisys moments, such as the study meeting The scandal of the theatre organized by the Department of Arts of the University of Bologna and by ParisSorbonne University. And then, a meeting about contemporary circus, and the public talk to introduce two theatrical books.

VIE Festival nasce nel 2005 con lobiettivo di attraversare la contemporaneita, di intercettare il delinearsi di nuove identita e soggettivita nellambito dello spettacolo dal vivo. Si svolge annualmente in ottobre in alcune citta dellEmilia, e organizzato da Emilia Romagna Teatro Fondazione, Teatro Nazionale con sede a Modena, ed ha come principali finanziatori lo stesso ERT, la Fondazione Cassa di Risparmio di Modena e la Regione Emilia-Romagna. Il progetto prende vita dopo una felice esperienza decennale con Le vie dei festival, la rassegna che dal 1994 al 2004 ha ospitato a Modena ogni autunno, da ottobre a meta dicembre, alcune delle proposte piu interessanti dei Festival estivi italiani e stranieri. Mescolando generi, lingue e tecniche, Le vie dei festival ha proposto esperienze di grande teatro e scoperto nuove realta italiane ed internazionali. Tra tutti gli artisti ospiti delle dieci edizioni ricordiamo almeno Carmelo Bene, Thierry Salmon, Lev Dodin, Peter Brook, Maguy Marin, Joseph Chaikin, Philip Glass, Robert Wilson e Peter Stein. VIE Festival intende mettere al centro la creazione contemporanea, dare allo sguardo la responsabilita di individuare, di cercare dove si nasconde oggi la forza del nuovo, gli artisti capaci di esplorare le zone di contatto fra le arti sceniche, i territori espressivi in cui lasciare interagire il teatro con la danza, la musica, le arti visive, il cinema. Lidea di contemporaneita si coniuga immediatamente con quella di complessita, qualcosa che e in continuo movimento e veloce nella sua indeterminatezza. La ricerca artistica agisce in verticale, scava in profondita. Non indica soluzioni, semmai solleva qualche dubbio. Tende lorecchio verso lincerto. La fecondazione reciproca e per definizione un terreno fertile, il luogo di miscele sempre nuove, originali, sorprendenti. Alla base della ricerca di nuovi linguaggi, sta sempre unurgenza di riflessione di contemporaneita, una necessita di contenuti. Il festival propone una molteplicita di protagonisti, che si misurano con una pluralita di spazi, con lobiettivo di mostrare strati di lavoro artistico, sguardi e poetiche capaci di suscitare le curiosita e le urgenze anche quelle meno codificate. La pluralita di linguaggi vede un coinvolgimento di pubblici diversi, mirando a far cadere il diffuso pregiudizio del contemporaneo come sinonimo di incomprensibile ed elitario. Il festival si pone anche come luogo di produzione o coproduzione di opere originali realizzate ad hoc e successivamente inserite in un circuito internazionale. Questa undicesima edizione si svolge a Modena, Bologna, Carpi e Vignola, e ospita le creazioni di Levan Tsuladze, Berardi Casolari, Anna Peschke, Virgilio Sieni, Gabriella Salvaterra, Nanfang Song And Dance Company, Mathurin Bolze, Nelson Valente, Pascal Rambert, Maguy Marin, Cuocolo / Bosetti, Michele Abbondanza, Snejanka Mihaylova, Motus, Giovanna Marini, Big Action Money, Marco Martinelli / Ermanna Montanari, Ryoji Ikeda, fuse*, Romeo Castellucci, Frank Van Laecke / Alain Platel / Steven Prengels. La sezione VIE Eventi offre momenti di approfondimento e riflessione a cominciare dal convegno di studio Lo scandalo del teatro organizzate dal Dipartimento delle Arti dellUniversita di Bologna e dallUniversite Paris-Sorbonne. Ospita inoltre un incontro sul circo di creazione contemporaneo, e la presentazione di due volumi teatrali.

VIE Festival nasce nel 2005 con lobiettivo di attraversare la contemporaneita, di intercettare il delinearsi di nuove identita e soggettivita nellambito dello spettacolo dal vivo. Si svolge annualmente in ottobre in diverse citta dellEmilia, e organizzato da Emilia Romagna Teatro Fondazione, Teatro Nazionale con sede a Modena, ed ha come principali finanziatori lo stesso ERT e la Fondazione Cassa di Risparmio di Modena. Il progetto prende vita dopo una felice esperienza decennale con Le vie dei festival, la rassegna che dal 1994 al 2004 ha ospitato a Modena ogni autunno, da ottobre a meta dicembre, alcune delle proposte piu interessanti dei Festival estivi italiani e stranieri. Mescolando generi, lingue e tecniche, Le vie dei festival ha proposto esperienze di grande teatro e scoperto nuove realta italiane ed internazionali. Tra tutti gli artisti ospiti delle dieci edizioni ricordiamo almeno Carmelo Bene, Thierry Salmon, Lev Dodin, Peter Brook, Maguy Marin, Joseph Chaikin, Philip Glass, Robert Wilson e Peter Stein. VIE Festival vuole mettere al centro la creazione contemporanea, dare allo sguardo la responsabilita di individuare, di cercare dove si nasconde oggi la forza del nuovo, gli artisti capaci di esplorare le zone di contatto fra le arti sceniche, i territori espressivi in cui lasciare interagire il teatro con la danza, la musica, le arti visive, il cinema. Lidea di contemporaneita si coniuga immediatamente con quella di complessita, qualcosa che e in continuo movimento e veloce nella sua indeterminatezza. La ricerca artistica agisce in verticale, scava in profondita. Non indica soluzioni, semmai solleva qualche dubbio. Tende lorecchio verso lincerto. La fecondazione reciproca e per definizione un terreno fertile, il luogo di miscele sempre nuove, originali, sorprendenti. Alla base della ricerca di nuovi linguaggi, sta sempre unurgenza di riflessione di contemporaneita, una necessita di contenuti. Il festival intende proporre una molteplicita di protagonisti, che si misureranno con una pluralita di spazi, con lobiettivo di mostrare strati di lavoro artistico, sguardi e poetiche capaci di suscitare le curiosita e le urgenze anche quelle meno codificate. La pluralita di linguaggi vedra un coinvolgimento di pubblici diversi, mirando a far cadere il diffuso pregiudizio del contemporaneo come sinonimo di incomprensibile ed elitario. Il festival si pone anche come luogo di produzione o coproduzione di opere originali che saranno realizzate appositamente e che successivamente si inseriranno in un circuito internazionale. Oltre agli spettacoli VIE propone una articolata attivita collaterale che coinvolge il territorio con diversi progetti di approfondimento quali letture, dibattiti, incontri, installazioni video-performative, conferenze.

VIE Festival inaugurated in 2005 as an attempt to experience contemporary times, discover new identities and individuals in the world of live performance. It is an annual event held in the month of October in some cities of Emilia Romagna Region. Organizer and founder is ERT Fondazione Teatro Nazionale based in Modena with the financial support of Fondazione Cassa di Risparmio di Modena. The project issued from the successful experience of Le vie dei festival which, during the decade 1994/2004, has welcomed in Modena from the mid October to the mid December, some of the most interesting protagonists of Italian and international summer festivals. Among them, Carmelo Bene, Thierry Salmon, Lev Dodin, Peter Brook, Maguy Marin, Joseph Chaikin, Philip Glass, Robert Wilson and Peter Stein are worth mentioning.VIE Festival focuses on contemporary creations, offering the responsibility of identifying, of searching for the power of new forces, of finding the artists able to explore the spaces where stage arts get into contact, of discovering the expressive possibilities of interaction between theatre, dance, music, cinema and visual arts. The concept of contemporary is immediately connected to complexity, something moving rapidly in its indeterminateness. Artistic research acts vertically, digging in depth. It does not indicate solutions, it rather raises some doubts. It is inclined to the uncertain. Mutual fecundation is a fertile space, a space for always new, original and surprising mixes.The research for new languages always originates from an urgent reflection on the contemporary world, from the need for new contents. The Festival will present a wide range of artists who will find themselves faced with a plurality of spaces, in the aim of showing different levels work, poetry and looks stimulating curiosity and urgencies, including the less codified ones.The number of languages will involve different audiences, in order to overcome the common prejudice, which sees the contemporary as a synonym for unintelligible and exclusive.The Festival also stands out as a place for production or co-production of original works that will be created specifically to access the international network later. In addition to the shows, VIE offers a well-structured program of collateral activities involving the community in readings, debates, meetings, video-installations and conferences.

Con linarrestabile progressione tecnologica, la Realta Virtuale, ma soprattutto una delle sue diramazioni piu ludiche, il videogame, e un ottimo esempio di come si possa "indurre" un utilizzatore piu o meno assiduo e piu o meno giovane, attraverso una serie di ambientazioni sempre piu fedeli al mondo reale, ad abbandonare per un momento il monitor e passare a esperire, realmente, quei luoghi teatri di sfide, raid e avventure sempre piu vicine alla realta e, di conseguenza, sempre piu "vissute". Partendo da unattenta riflessione teorico-metodologica, lautore conduce una rigorosa analisi, giungendo a individuare nel Videogame-induced tourism, come lui stesso lo definisce, una potenziale strategia sia per gli "specialisti" del comparto turistico, ma soprattutto per i fruitori di queste piattaforme, tracciando, nel contempo, un percorso allinterno del quale possano nascere e svilupparsi idee e prospettive di ricerche e innovazioni future. La riflessione sul legame tra videogame, territorio e turismo continua in questa riedizione, con ulteriori case studies, rispecchiando la sua naturale evoluzione gia esposta nel saggio dello stesso autore, VR-induced tourism.

A mediados de la década de los sesenta del siglo XX aparece una de las expresiones artísticas con mayor presencia en el panorama estético actual: el videoarte. Situada en la encrucijada en la que desembocan los caminos del body art, el arte de accion, la musica, el cine o el arte conceptual, esta nueva tendencia fue un punto de encuentro para artistas procedentes de diversas tradiciones y lenguajes plasticos. El videoarte les ofrecio un instrumento con el que retomar los inveterados problemas del arte, como la relacion entre el espacio y el tiempo, la primacia de la idea frente a su materializacion, la presencia del cuerpo o los limites de lo artistico. Pero el arte del video ha suscitado ademas nuevas consideraciones debidas a su imbricacion con lo tecnologico y, sobre todo, a la irrupcion de la imagen electromagnetica que aquel trajo consigo.Videoarte propone un recorrido entre lo cronologico y lo tematico, para dar cuenta de los principales hitos y de los grandes nombres que jalonan su historia. Esta corriente, que supo sobrevivir a la obsolescencia de la tecnologia que le dio origen, abrio las puertas a las tendencias mas pujantes, como el media art o el net art. En esta obra el lector descubrira la riqueza y heterogeneidad de un arte camaleonico, de fronteras difusas, cuyo potencial critico y sus cualidades plasticas siguen hoy siendo vigentes.

Video Green examina el boom del arte de Los Ángeles impulsado por los programas de graduados de alto perfil a finales de la década de 1990. Sondeando la superficie de los términos críticos en boga, Chris Kraus realiza una brillante cronica de como la ciudad de Los Angeles se transformo, de repente, en el epicentro del mundo del arte internacional y en un microcosmos de la cultura mas amplia.¿Por que esta Los Angeles tan completamente divorciada de otras realidades de la ciudad? Un libro inteligente, analitico y agudo, Video Green, es al mundo del arte de Los Angeles, lo que Mitologias, de Roland Barthes fue a la sociedad del espectaculo: la autopsia en vivo de una ciudad fantasma.Esta edicion de Video Green de Chris Kraus es especial. Cuenta con una intervencion artistica, Marcapaginas de la artista Maider Lopez, que surge de una cita del libro. A partir de una reflexion sobre el fetichismo de los objetos, la propuesta de Maider Lopez consiste en recolectar recuerdos que diariamente usamos como marcapaginas. Gracias a la participacion de cientos de personas, diferentes evocaciones a su cotidianidad personal, se incluyen en cada volumen impreso.

Vidas parecidas reúne dos piezas teatrales que, a la manera de Plutarco, pretenden trazar un paralelismo entre dos hombres rutilantes de las letras y el periodismo paraguayos, ambos con altura moral y valentia para denunciar los abusos del poder economico y politico, y que han encontrado la muerte a temprana e injusta edad: Rafael Barrett y Blas Garay.Un jardin desolado y Despues de la vida, las dos obras dramaticas escritas por el consumado dramaturgo Alcibiades Gonzalez Delvalle y agrupadas en este libro, abordan episodios de la historia nacional que merecen ser recreados una y otra vez, para que ninguna generacion presente o futura los olvide.