Resultados para "Tante" en Arte

These biographies of the great quattrocento artists have long been considered among the most important of contemporary sources on Italian Renaissance art. Vasari, who invented the term "Renaissance", was the first to outline the influential theory of Renaissance art that traces a progression through Giotto, Brunelleschi, and finally the titanic figures of Michaelangelo, Da Vinci, and Raphael.

Divine Names is a unique contribution to understanding life and oneself on a deeper level: by learning to open to the Divine. It draws on original Arabic literature and on the author's many years of personal practice, teaching, and guiding others on their spiritual paths to healing, to becoming whole. It focuses on the use of the Divine Names in dhikr, individual meditations and healing practices.

The Swedish painter Hilma af Klint (1862-1944) was forty-four years old when she broke with the academic tradition in which she had been trained to produce a body of radical, abstract works the likes of which had never been seen before. Today, it is widely accepted that af Klint was one of the earliest abstract academic painters in Europe. But this is only part of her story. Not only was she a working female artist, she was also an avowed clairvoyant and mystic.

Poststructuralism changes the way we understand the relations between human beings, their culture, and the world. Following a brief account of the historical relationship between structuralism and poststructuralism, this Very Short Introduction traces the key arguments that have led poststructuralists to challenge traditional theories of language and culture.

In Strange Tools: Art and Human Nature, philosopher and cognitive scientist Alva Noë raises a number of profound questions: What is art? Why do we value art as we do? What does art reveal about our nature? Drawing on philosophy, art history, and cognitive science, and making provocative use of examples from all three of these fields, Noë offers new answers to such questions. He also shows why recent efforts to frame questions about art in terms of neuroscience and evolutionary biology alone have been and will continue to be unsuccessful.

Even 150 years later, we are haunted by the Civil War---by its division, its bloodshed, and perhaps, above all, by its origins. Today, many believe that the war was fought over slavery. This answer satisfies our contemporary sense of justice, but as Gary W. Gallagher shows in this brilliant revisionist history, it is an anachronistic judgment.

Albertus, first carved on a bronze tablet in the 1930s by German Jewish refugee Berthold Wolpe, has proved to be one of the most enduring handcrafted typefaces in the world. It is at once modern and timeless, authoritative and whimsical—renowned as the typeface of London Street signs, David Bowie albums, and Star Wars movie posters. In this unique celebration, bestselling author Simon Garfield charts the story of the creation of Albertus, its innumerable and vibrant uses, and the erratic brilliance of its designer, as recounted by Wolpe's children.

Artists are expert lookers: they have learned to pay attention. The rest of us spend most of our time on autopilot, rushing from place to place, our overfamiliarity blinding us to the marvelous, life-affirming phenomena of our world. But that doesn't have to be the case. In his inimitable engaging style, Will Gompertz takes us into the minds of artists—from contemporary stars to old masters, the well-known to the lesser-so, and from around the world—to show us how to look and experience the world with their heightened awareness.

In a world dominated by men, Marian McPartland distinguished herself as one of the greatest jazz pianists of her age. Born in the UK as Margaret Marian Turner, Marian McPartland learned to play classical piano, but was passionately attracted to the rhythms of American jazz. Entertaining troops in WWII Europe, she met her future husband, Jimmy McPartland, a cocky young trumpet player who was the protege of the great Bix Beiderbecke. They were married and, together, they made jazz history.

Slaves to Fashion is a cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art world. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora.

A cultural storm swept through the 1960s—Pop Art, Bob Dylan, psychedelia, underground movies—and at its center sat a bemused young artist with silver hair: Andy Warhol. Andy knew everybody (from the cultural commissioner of New York to drug-driven drag queens) and everybody knew Andy.

Each chapter unpacks a particular name for the Holy Spirit and examines its significance, using examples from a variety of artistic mediums—music, poetry, visual art, film, and even landscape architecture. Far from being just a theoretical exploration, the book seeks to be a catalyst for renewal in theology and the arts, aiming to inspire new avenues of thought and engagement within classrooms, churches, and beyond.

This study explores the phenomenon of the cults of Raphael and Michelangelo in relation to their death, burial, and posthumous fame—or second life—from their own times through the nineteenth century. These two artists inspired fervent followings like no other artists before them. The affective response of those touched by the potency of the physical presence of their art—works, personal effects, and remains—or even touched by the power of their creative legacy—opened up new avenues for artistic fame, divination, and commemoration.

In How Catholics Encounter the Bible, award-winning biblical scholar and historian Michael Peppard explores the paradoxical role of the Bible for Catholics—a book central to their tradition, but not usually in the form of a book. Biblical ideas and beliefs are more often mediated through diverse modes of storytelling, artistic imagination, and ritual.

1742: the famous dome atop Saint Peter's Basilica, designed by Michelangelo, is fractured and threatened with collapse. The dome is the pride of Italy and the largest of its kind anywhere in the world. And no one knows how to fix it. This engaging and colorful narrative tells the overlooked story of how Michelangelo's Dome was saved from disaster by three mathematicians and Pope Benedict XIV, who had asked them for help.

In 2008, academic and scholar Susan Gubar was told by a trusted oncologist that she had only a few years left to live. Though she outlived that dire prognosis, this brush with mortality refocused her attention on the boons of a longevity she did not expect to experience. She began to think: In the last years of our lives, can we shape and change our creative capabilities? The resulting volume, Grand Finales, answers this question with a resounding yes.

Reacting to the tumultuous crises of the twentieth century, especially the horrors of World War I, avant-garde artists and writers sought to destroy art by transforming it into the substance of everyday life. Following the evolution of these revolutionary groups, How to Be Avant-Garde charts its pioneers and radical ideas.

Leonardo da Vinci (1452-1519) never signed a painting, and none of his supposed self-portraits can be securely ascribed to his hand. He revealed next to nothing about his life in his extensive writings, yet countless pages have been written about him that assign him an identity: genius, entrepreneur, celebrity artist, outsider. Addressing the ethical stakes involved in studying past lives, Stephen J. Campbell shows how this invented Leonardo has invited speculation from figures ranging from art dealers and curators to scholars, scientists, and biographers.

The Western museum is a battleground—a terrain of ideological, political, and economic contestation. Almost everyone today wants to rethink the museum, but how many have the audacity to question the idea of the universal museum itself? In A Programme of Absolute Disorder, Françoise Vergès puts the museum in its place. Exploring the Louvre's history, she uncovers the context in which the universal museum emerged: as a product of colonialism, and of Europe's self-appointed claim to be the guardian of global heritage.

Summer in Paris, 1783. The Louvre steps, too hot and no breeze, the air electric with the heady anticipation of a coming storm: the year's Royal Salon. Men and women of every estate are united under art: to love it, to despise it, to gossip endlessly about it. Exhibiting at the Royal Salon was not for the faint of heart, and it was never intended for women. Enter Adélaïde Labille-Guiard . . . Born in Paris in 1749, Adélaïde Labille-Guiard rose from shopkeeper's daughter to an official portraitist of the royal court—only to have her achievements reduced to ash by the French Revolution