eBooks de Historia general del arte, página 6 de 40

Neste minucioso trabalho de coleta de dados, sistematizaço de informaçes e seleço de imagens primorosas (pinturas, mapas, fotografias), Fernaneo Guerra de Souza mostra como a Colonia conviveu intensamente com a produço de açucar, o primeiro ciclo economico do Brasil e o mais extenso, antecedendo o ciclo do ouro e o do cafe. O autor analisa, principalmente do ponto de vista morfologico, as edificaçes de cinco engenhos pernambucanos, dos seculos XVII, XVIII e XIX, enfatizando seu estado atual de conservaço ou abandono. Arquiteto e historiador, experiente no ensino da Historia da Arte e na restauraço de edificaçes, sobretudo daquelas do Barroco, Fernando Guerra mostra como quase toda a costa nordestina teve sua civilizaço estruturada a base dos canaviais e dos engenhos, como os investimentos na produço geraram um quantitativo significativo de engenhos, e como o açucar alicerçou a riqueza, o fausto e o luxo da vida colonial, entre a chamada nobreza rural do Nordeste..

O Escudo de Rômulo é uma das mais antigas e sagradas relíquias da Roma Antiga, atribuído ao mítico fundador da cidade, Rômulo. Forjado sob a proteção de Marte, o deus da guerra, o escudo é dito ter p

Long ago, the mid-seventies, because of an architectural design, was built at the foot of the hill, humble suburb of the small town of Palhoça, a school with standard first world. In the third year of its existence, an audacious plan was put in place by the principal, which unexpectedly spread beyond the school grounds, broke taboo, has joined the community and opened up unimaginable opportunities in the daily lives of students, winners of a simple contest of June Festival, that cold night of St. John. Caroline, one of the winners gincanistas, only child of poor family, originally of family subsistence farming, was surprised to receive your prize winner and the news of his application in another even bigger contest: The supergincana. The winning supergincanistas embarked for distant lands towards the great metropolis, in a fascinating adventure. The trip has forever changed their dreams, brought them to life experiences, maturity and worldview, in which the value of life has become the masterpiece in construction of his poetry and in its relations with the community and the school. Because of the Caroline trip to So Paulo, his father Jenaro, simple farmer s small crop of Palhoça, illiterate, was graced by moments of happiness and closeness to the wife in the home. In private moments, he had the opportunity to show you that in addition to loving husband, carrying within himself a world of poetry. On feedback from Tour supergincanistas, simple essays turned the default school in a great line of literature park. The choices of parents, poetry emerged and the winner of the project, the school hut became forever in the legendary city of the wise.

"Geometrías del coleccionismo. Una suma de diferentes voces" es el título del segundo cuaderno de arte de la colección Compás de espera, que pretende generar reflexión y debate en torno a temas de fondo relativos al arte y la cultura. El cuaderno es una publicacion periodica o monografico, esta pensado para coleccionar, tiene un caracter propositivo y va acompañado de obra original reproducida de artistas. Este segundo numero hace un balance de la historia del coleccionismo de arte contemporaneo en España desde 1950 hasta la actualidad, a la vez que reflexiona acerca de su futuro. La particularidad del texto es que da voz al gran abanico de profesionales, involucrados en el arte de coleccionar, mediante la incorporacion de breves entrevistas.

"Escola de Belas Artes UFMG – 65 anos de ensino-aprendizagem em Artes" (Ed. Ramalhete, 2024) aborda a trajetória da Escola de Belas Artes/UFMG, que está entre as instituições de arte mais significati

In the mid-1930s, three giants of the international Modern movement, Bauhaus professors Walter Gropius, Marcel Breuer and László Moholy-Nagy, fled Nazi Germany and sought refuge in Hampstead in the most exciting new apartment block in Britain. The Lawn Road Flats, or Isokon building, was commissioned by the young visionary couple Jack and Molly Pritchard and designed by aspiring architect Wells Coates. Built in 1934 in response to the question How do we want to live now? it was Englands first modernist apartment building and was hugely influential in pioneering the concept of minimal living. During the mid-1930s and 1940s its flats, bar and dining club became an extraordinary creative nexus for international artists, writers and thinkers. Jack Pritchard employed Gropius, Breuer and Moholy-Nagy in his newly formed Isokon design company and the furniture, architecture and graphic art the three produced in pre-war England helped shape Modern Britain.This book tells the story of the Isokon, from its beginnings to the present day, and fully examines the work, artistic networks and legacy of the Bauhaus artists during their time in Britain. The tales are not just of design and architecture but war, sex, death, espionage and infamous dinner parties. Isokon resident Agatha Christie features in the book, as does Charlotte Perriand who Jack Pritchard commissioned for a pavilion design in 1930.The book is beautifully illustrated with largely unseen archive photography, and includes the work of photographer and Soviet spy Edith Tudor-Hart, as well as plans and sketches, menus, postcards and letters from the Pritchard family archive. In Spring 2018, the Isokon building and Breuer, Gropius and Moholy-Nagy were honoured with a Blue Plaque from English Heritage.

A FLORESTA VERDE UM LIVRO , DO CONTESTO , DO TEM , NA FLORESTA RIO AGUA , MAR AVORES , PLANTAS , CAUSA DE UM PLANETA E SUA AGUA NA FLORESTA UMA FLORESTA , NO QUE E UM FLORESTA BOA LEITURA LEIA LIVRO

WORLDBUILDING: Gaming and Art in the Digital Age examines the relationship between gaming and time-based media art. It is the first transgenerational show of this scope to survey how contemporary artists world-wide are appropriating the aesthetics and technology of gaming as their form of expression. Commissioned by the Julia Stoschek Foundation and curated by Hans Ulrich Obrist, the exhibition features works by more than 50 artists, including Rebecca Allen, Cory Arcangel, LaTurbo Avedon, Meriem Bennani, Ian Cheng, Cao Fei, Harun Farocki, Porpentine Charity Heartscape, Pierre Huyghe, Rindon Johnson, KAWS, Sondra Perry, Jacolby Satterwhite, Sturtevant, and Suzanne Treister. This catalogue is conceptualized as a future standard reference in the field in close collaboration with Hans Ulrich Obrist. In addition to texts by contemporary theorists, curators, and critics on the individual works, a series of newly commissioned contributions will investigate various perspectives on the intersection of gaming and time-based media art.This playfully designed volume features rounded edges, a screen-printed PVC dust jacket and kiss-cut stickers showing a range of different digital avatars.

WORLDBUILDING: Gaming and Art in the Digital Age examines the relationship between gaming and time-based media art. It is the first transgenerational show of this scope to survey how contemporary artists world-wide are appropriating the aesthetics and technology of gaming as their form of expression. Commissioned by the Julia Stoschek Foundation and curated by Hans Ulrich Obrist, the exhibition features works by more than 50 artists, including Rebecca Allen, Cory Arcangel, LaTurbo Avedon, Meriem Bennani, Ian Cheng, Cao Fei, Harun Farocki, Porpentine Charity Heartscape, Pierre Huyghe, Rindon Johnson, KAWS, Sondra Perry, Jacolby Satterwhite, Sturtevant, and Suzanne Treister. This catalogue is conceptualized as a future standard reference in the field in close collaboration with Hans Ulrich Obrist. In addition to texts by contemporary theorists, curators, and critics on the individual works, a series of newly commissioned contributions will investigate various perspectives on the intersection of gaming and time-based media art.This playfully designed volume features rounded edges, a screen-printed PVC dust jacket and kiss-cut stickers showing a range of different digital avatars.

The incomparable play of light and color in Paul Cezannes work was the foundation of his reputation as a forerunner of modernism. From the start he went his own way, and his paintings initially evoked a lack of understanding in art critics of the time, as well as ridicule. Despite his Romantic, Baroque, Impressionist, and finally Classical influences, it is still difficult to ascribe Cezanne to any particular art movement. James H. Rubin traces Cezannes life and work from A to Z in this brief volume, creating an image of a painter who wanted to transform painting itself.PAUL CEZANNE (18391906) was one of the most influential painters in the early days of modernism and has often been described as a pioneer of Neues Sehen, or New Vision. His work still exercises undiminished influence to this day.JAMES H. RUBIN (*1944) is an art historian and professor at the State University of New York in Stony Brook. His research focuses on nineteenth-century European art, especially the history, theory, and critique of French Modernism.

The incomparable play of light and color in Paul Cezannes work was the foundation of his reputation as a forerunner of modernism. From the start he went his own way, and his paintings initially evoked a lack of understanding in art critics of the time, as well as ridicule. Despite his Romantic, Baroque, Impressionist, and finally Classical influences, it is still difficult to ascribe Cezanne to any particular art movement. James H. Rubin traces Cezannes life and work from A to Z in this brief volume, creating an image of a painter who wanted to transform painting itself.PAUL CEZANNE (18391906) was one of the most influential painters in the early days of modernism and has often been described as a pioneer of Neues Sehen, or New Vision. His work still exercises undiminished influence to this day.JAMES H. RUBIN (*1944) is an art historian and professor at the State University of New York in Stony Brook. His research focuses on nineteenth-century European art, especially the history, theory, and critique of French Modernism.

Prácticas de resistencia en el arte del siglo XXI.Un artista es incapaz de producir nada si no hay un viento que hinche sus velas. Y ese viento tiene que ser precisamente el que sopla en ese momento, no el viento del futuro. ¿Una frase de Bertolt Brecht en el comienzo de un recorrido por el presente mas candente del arte? Es que no puede ecualizar mejor esa idea lo que Elena Oliveras propone en su nuevo libro, trabajo que no en vano dedica "a todos los artistas que luchan por hacer del mundo un lugar mas justo". La autora de La metafora en el arte profundiza sus busquedas, enfocando la problematica estetica desde una perspectiva mas especifica y urgente: la que considera la posibilidad de construir un mundo mejor, sanando las heridas que surgen de una precaria valoracion de la vida con la creacion de conciencia a traves de la accion artistica. En Distopias y microutopias Oliveras repasa una agenda al rojo vivo, sacando de la matrioshka del arte politico aquellas cuestiones que hoy son centrales: el consumo desenfrenado, el negacionismo climatico, una violencia de rasgos holisticos, la sociedad de las pantallas y el insolito reto que nos propone la sencilla idea de vivir juntos. Como bien nos dice la autora: "Las practicas artisticas de resistencia, al mostrar zonas criticas del mundo de hoy, que nos duelen, no quedan en el mero registro sino que tambien se dirigen al futuro, dada la tendencia natural del ser humano a la felicidad. Estimulan esa directriz que cada individuo guarda en su interior y la convierten en aspiracion trascendente que vale la pena practicar".

Me llamo Jorge Oramas y me conocen como el pintor de la luz. Mi vida estuvo marcada por la huella de la enfermedad y la pobreza. Sin embargo, pese a todas las oscuridades de mi vida, mi obra destila luminosidad y alegria. En este libro, te invito a conocer mi historia: una historia marcada por adversidades, pero tambien por la belleza.Pinte todo lo que pude y retrate con colores intensos la isla donde naci, Gran Canaria. Teñi mi vida de gris de tonos vivos, y por ello me converti en uno de los artistas mas importantes de la pintura canaria del siglo XX.

«Con los años he llegado a descubrir que las fuentes son lugares mágicos y liminales a los que hay que acudir sin prisa, como quien va a visitar a un amigo […] Las fuentes cantan y nos hablan directa

UMA LUZ NAS PALAVRAS E UM LIVRO NO QUE A UM CONTESTO, NA CAUSA DE TUDO ISSO NA PAZ , NO QUE ALEGRIA NO QUE PELO, SANIFICADO SEM A UM CAUSA NO MUNDO A PARTE DE TUDO ALEGRIA BOA LEITURA LEIA LIVRO LITE

Por que nossos ancestrais faziam arte? O que ela significava para eles, e o que significa para nós hoje? Afinal, qual é a importância da arte? Em busca de respostas para estas perguntas, esta breve h

This guide examines Americas oldest collection of Benin art, and one of its least published. Ivory, brass, and wooden art from one of the greatest African precolonial states--the only sub-Saharan polity with 500 years of surviving art--are examined through contextual lenses that provide insight into the do peoples creativity and world view. The guide also considers the collections specific history and growth, and current plans to repatriate the artworks back to Nigerias Benin Kingdom. For readers unfamiliar with Benin and its art, this introduces the complexities of the palace, its successive monarchs and chiefs, and interprets metaphorical motifs such as mudfish, leopards, and elephants. Artworks refer to family and court rivalries, as well as the strict court hierarchies that dictated who could use which materials and wear particular regalia. Interactions with the Portuguese in the 15th and 16th centuries, their impact on trade and luxury goods, and their introduction of Catholicism paint a portrait of a society that absorbed only what they found useful and flourished in both war and peace. Original fieldwork illuminates Benin art and culture and previously published archival material provides insight regarding major collectors and individuals who shaped the field of African art history.

Conocer el tiempo es esencial para la coordinacion de los diferentes actores de la sociedad del siglo XXI. Cada uno de nosotros va literalmente atado a un reloj por la muneca y mirar la hora es un gesto interiorizado e inconsciente. El origen de esta necesidad se remonta a la aparicion de los primeros relojes publicos en el siglo XIV, que eran objetos de prestigio y las ciudades competian entre si por tener el mas grande y vistoso. Como accesorio urbano, quedo ligado a la imagen de ciudad y del buen gobierno. Cargado de un complejo valor simbolico, el reloj se utilizo en metaforas de conceptos tan dispares como la vanitas, la mecanica del universo o la creacion divina. En esta obra se desgrana la historia de los relojes castellanos mas destacados desde la segunda mitad del siglo XIV en adelante, estudiando su construccion y los retos tecnicos a los que se enfrentaban los relojeros. Tambien se explica como cambio la forma de medir el tiempo a raiz de su la introduccion asi como su impacto cultural en la sociedad castellana.

Este libro pretende acompañar al lector por un camino hacia el descubrimientodel Monasterio de El Escorial de otra manera, para comprenderlo, disfrutarloy darle otro sentido, contestando a preguntas como: ¿que habia en su interiorinicialmente?, ¿que significado tenia?, ¿cuales eran los autenticos motivos desu existencia?, ¿y su verdadero valor simbolico?, ¿que significa para nosotros?El Real Monasterio de San Lorenzo de El Escorial es el lugar mas representativodel Siglo de Oro español y, con este libro, queremos que lo disfruteis porquepara descubrir la riqueza de una obra hay que saber contemplarla.R. Guardini.

UNA MIRADA ALTERNATIVA DEL ARTE Y LA DISIDENCIA SEXUAL EN COLOMBIAEl presente libro es resultado de un trabajo de investigación que fue presentado como tesis doctoral sobresaliente para el Doctorado en Historia del Arte y Musicologia de la Universidad de Salamanca. La investigacion contribuye a la construccion y recuperacion de otra historia posible del arte sexualmente disidente en Colombia a traves de obras, artistas y proyectos esteticos militantes y activistas, que son poco nombrados o reconocidos en un medio con figuras consagradas historicamente por la critica; situando asi el activismo LGBTIQ+ en un contexto geografico especifico que establece potenciales uniones entre la historia oficial y una historia emergente con nuevos personajes y perspectivas. Este texto postula, como hilo principal de analisis o interpretacion, que la produccion artistica con tematica de disidencia sexual ha constituido en la historia del arte en Colombia, de un lado, un espacio de resguardo para las libertades individuales y, del otro, un aporte para la construccion de sociedad y derrocamiento de paradigmas sexuales.