eBooks de Historia general del arte, página 2 de 41

Voicing Scotland takes the reader on a discovery tour through Scotlands traditional music and song culture, past and present. West unravels the strings that link many of our contemporary musicians, singers and poets with those of the past, offering up to our ears these voices which deserve to be more loudly heard. What do they say to us in the 21st Century? What is the role of tradition in the contemporary world? Can there be a folk culture in the digital age? What next for the traditional arts? REVIEWS Can folk stay true to tradition and still be genuinely contemporary? Can its pride in place counter globalisation- without collapsing into narrow nationalism? The answer for, Gary West, is a resounding Yes. SCOTSMAN Voicing Scotland...is an engrossing assessment of where Scottish Traditional Music standsl, at a time of resonant political developments in the nations history but also of globalisation and the threat of cultural homogenisation in todays liquid society. SCOTSMAN

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.

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.

La tensión social y económica del siglo XIX desemboca en una dura convulsión política en la Europa del XX, que se manifiesta en dos guerras mundiales que superaron toda la violencia humana conocida hasta entonces. Al mismo tiempo que estas conmociones belicas, se inician infinidad de movimientos culturales que nadie hubiera podido prever. La industria empuja a las naciones europeas a un nivel economico antes desconocido, pero mientras algunas de ellas (Inglatera, Francia, etc) tienen colonias para extender su produccion industria, otras (Alemania, Italia, Japon) carecen de colonias similares para entrar en la competencia economica de este siglo.

Tantos movimientos culturales y sociales determinan un siglo XIX muy denso y desconcertante. La cultura se difunde en el pueblo y produce una serie de conmociones políticas y económicas que nadie habria podido prever con anterioridad. Por todas estas causas el silgo XIX es al mismo tiempo progresista y desconcertante, como podemos ver en esta breve coleccion de imagenes con el que queremos recordarlo.

Josep Pla había conocido a Manolo Hugué en Barcelona en 1919, cuando el escultor acababa de regresar a España tras la primera guerra mundial. Casi una década más tarde, en 1927, escribiría su biografia en uno de los esfuerzos concentrados mas febriles de mi vida.De la mano del artista, Pla traza en Vida de Manolo contada por el mismo una semblanza memorable de Hugue, siguiendole por Barcelona, Paris y Ceret, narrando las mil adversidades a las que tuvo que hacer frente para huir de la miseria. El lumpen y la vida cotidiana en Barcelona a finales del XIX, la bohemia parisina, el circulo artistico de Ceret, o las ideas eticas y esteticas del escultor son recogidos en esta biografia con extraordinaria viveza.Pla sometio el texto a sucesivas revisiones y modificaciones, limando dos de sus caracteristicas esenciales: la frescura y la autenticidad. Esta nueva traduccion recupera el texto de la primera edicion del libro, que llevaba mas de setenta años sin ser publicado. Por la densidad humana del personaje que palpita en sus paginas, el libro es referencia ineludible de la biografia del siglo XX en España y uno de los mas logrados de su autor.Vida de Manolo es uno de los libros mas urbanos, mas personales, mas sabios y mas divertidos que he leido en mi vida. Un libro para releer, seguido o al azar de la pagina por la cual se abra. Un clasico.Jaime Gil de Biedma, 1967Uno de los mejores libros que se han publicado en España durante los ultimos treinta años.Dionisio Ridruejo, 1953Sin duda el libro mas famoso de Josep Pla.Gabriel FerraterUno de los mejores libros de la literatura catalana. Carles RibaSin duda el libro mas famoso de Josep Pla. Gabriel Ferrater

En la construcción de la imagen estética de Andalucía tuvieron un papel importante los viajeros, muchos de ellos artistas, que seleccionaron con su mirada las características que fueron dibujando la identidad de nuestro pais.Los textos que se integran en este libro se centran en los llegados de America, sobre todo de los territorios hispanos, que han sido, en parte, olvidados por la historiografia. Los autores de los distintos capitulos, procedentes de instituciones españolas y americanas, nos permiten comprender nuestros mitos cimentados en un pasado no lejano. Los intereses para la realizacion de estos viajes a España debemos relacionarlos, inicialmente, con el orientalismo y, en lo que se refiere a los llegados de Iberoamerica, con el reconocimiento de valores comunes. Siendo hitos fundamentales la conmemoracion del IV Centenario del Descubrimiento de America y la Exposicion Iberoamericana de 1929 en Sevilla. A ello tenemos que añadir el interes politico de España por recobrar las relaciones culturales con la America hispana, para lo que se tomaron una serie de iniciativas para el intercambio de estudiantes. Tambien se tiene en cuenta en este libro la aportacion de mujeres, artistas y viajeras, que suponen un numero importante y que suman cualidades especificas por las dificultades del viaje en los años estudiados.

Trechos dos primeiros versos: Via poesia Via poesia Na contramão Do tempo Olhos conceituais Olhos conceituais de uma vida sem conceito ou conceito Sem lógica Não veem Ali havia um povo. Não há mais.

LEIA LIVRO BOA LEITURA QUE DEUS ABENÇOA LEIA LIVRO COMPRA LIVRO BOA LEITURA QUE DEUS ABENÇOA LEITURA

El presente artículo pretende ser una exposición general sobre el poema de Parménides articulada a partir del análisis de dos de sus conceptos más importantes, verdad y opinión. Se divide, así, en dos partes principales. La primera es una introduccion general a la vida y la obra de Parmenides, en la cual se discuten, a traves de los testimonios antiguos, los aspectos historicos y literarios mas relevantes para contextualizar el pensamiento del filosofo. La segunda ofrece un acercamiento a los conceptos griegos de verdad y opinion (aletheia y doxa), mediante un analisis de sus usos y sentidos pre-parmenideos, particularmente, homericos. Como conclusion, se analiza brevemente el problema filosofico de la unidad del poema.

Las memorias de una mujer independiente y su papel en el mundo del arte catalán y español.Victoria Combalía narra en esta sugerente crónica personal sus años de formación y los primeros pasos como alumna y joven profesora de historia del arte. Nacida en el seno de una familia de la burguesia liberal catalana, la que con el tiempo se convertira en respetada historiadora y critica de arte, y comisaria de numerosas exposiciones, es en los años setenta una joven que lucha por emanciparse de las imposiciones morales de su medio social y dispuesta a vivir a fondo los profundos cambios de todo tipo que el pais encaraba en esos momentos. Sus estancias en Paris y en Nueva York le permiten conocer de primera mano las grandes transformaciones del arte contemporaneo y entrar en contacto con algunos de sus principales protagonistas, que en estas paginas aparecen magistralmente perfilados.

Nace Diego de Silva y Velázquez en la ciudad de Sevilla el año de 1599. Su padre, Juan Rodríguez de Silva, es de ascendencia portuguesa y de familia noble. Su madre, Jerónima Velázquez, cuyo apellido va a perpetuarse en la historia de los pinceles, es de antigua familia sevillana. Desde muy joven siente Diego de Silva la llamada de la pintura, y acude a los talleres de los maestros sevillanos mas competentes, como Herrera el Viejo, con quien se cree que estudio, aunque no hay pruebas documentales al efecto. Sabemos, sin embargo, con toda seguridad, que a los doce años estaba trabajando como aprendiz en el taller de Francisco Pacheco

RESUMEN O ESQUEMA DEL ARTÍCULO: 1. Síntesis biográfica. 2. Obra. 2.1.Introducción. 2.2. La lengua latina. 2.2.1. Datación y estudio general. 2.2.2. Primeraparte: la etimología varroniana. 2.2.3. Segunda parte: la morfologia varroniana. 2.2.4.Tercera parte: la sintaxis varroniana. 2.2.5. Concepcion varroniana de la lengua. 2.2.6.Fuentes. 2.2.7. Transmision. 2.3. Las cosas del campo. 2.3.1. Datacion. 2.3.2.Estructura y contenido. 2.3.3. Fuentes. 2.3.4. Transmision. 2.4. Las obras perdidas deVarron. 2.4.1. Las Satiras Menipeas. 2.4.2. Los Logistoricos. 2.4.3. Las disciplinas.2.4.4. Las obras anticuarias. 2.4.5. Obras sobre la lengua y la literatura latinas. 2.4.6.Obras geograficas. 2.4.7. Obras autobiograficas. 2.4.8. Cartas. 2.4.9. Obras deoratoria, retorica y derecho. 2.4.10. Tratados filosoficos. 2.4.11. Obras de creacionliteraria. 2.5. Lengua y estilo de Varron. 2.6. Recepcion de la obra de Varron.Bibliografia.

This collection of articles explores a possible alternative beginning of Global Art History and World Art Studies, two methodologies that set a worldwide focus in the study of art around the 2000s. Teaching back to earlier efforts to conceive of the international community in a less Eurocentric way, the volume proposes a tentative link between socialist internationalism as a political and cultural diplomatic principle in the Soviet Block and some new approaches to art and cultural historiography introduced there. In the "Second World", universal art history or Weltkunstgeschichte were endorsed as frameworks for the teaching and writing of art history. Authors in this book interrogate whether "world art history" as practiced by socialist scholars had aspirations and achievements comparable to todays Global Art History and World Art Studies. Or was this knowledge production in an internationalist paradigm a mere foil for communist rhetoric, behind which severed cultural relations to the Western world could also be recommenced?

A través de una serie de casos más o menos anómalos, el reconocido historiador italiano Carlo Ginzburg reflexiona sobre las imágenes en el arte y su largo diálogo con las palabras: De Vasari a Aby Warburg; de Federico Zeri a Anthony Grafton; de Francis Galton a Freud y Wittgenstein. En estos nueve ensayos de una erudicion encantadora, Ginzburg no solo descifra textos leyendolos entre lineas o analiza imagenes a partir de detalles aparentemente marginales, sino que tambien hace de esa conversacion una historia interminable.