Musée virtuel - Reproduction de tableaux - Copies de peintures à l'huile peinte à la main Connaissance des Arts, Magazine d'Art, Actualité artistique, Agenda expositions art La Fondation Custodia ouvre sa bibliothèque aux chercheurs La troisième plus importante bibliothèque d’histoire de l’art en France, constituée des fonds Frits Lugt et de l’ancien Institut néerlandais, offre douze places de rêve pour les chercheurs spécialisés dans les arts graphiques et l’art des écoles du Nord. Encyclopédie du « goût moderne » Passionnante immersion dans les arts décoratifs de l’entre deux-guerres à travers les portfolios d’artistes et d’architectes,cet imposant volume est « une longue promenade esthétique dans l’imaginaire de l’époque moderne et Art Déco », selon Francis M. Bruges : une ville musée en guerre Occupée par les Allemands dès 1914, bombardée durant la guerre par les forces aériennes britanniques, puis à nouveau sur la ligne de front lors de l’offensive militaire lancée par les Franco- Belges à l’automne 1918, Bruges ne sortit pas indemne du conflit. Les voyances de la transgression Les colères D’Armando à Otterlo Un possible Léonard de Vinci saisi en Suisse
C’è un morto nel ritratto. Come riconoscere presenze funebri nei dipinti La pittura antica non si fermava di fronte al limite della fine dell’esistenza. In molti casi, riprendendo precedenti ritratti della persona defunta o ricorrendo – più raramente – al rilievo del suo volto sul letto di morte, i pittori giunsero ad imprimere un nuovo, eterno soffio di vita in quei corpi estinti. I casi di quadri di lutto non sono poi rarissimi. Uno degli elementi che contraddistingue la morte dell’effigiato è normalmente, specie nella pittura cinquecentesca dell’Italia settentrionale, la presenza di un albero spezzato delineato nel paesaggio retrostante o, come nel caso dei coniugi dipinti da Lotto (lui, affranto, in vita, lei morta) un temporale che ha la forza spaventosa di evento metafisico, atto a piegare la volontà dell’uomo che qui somiglia realmente agli alberi reclinati su se stessi a causa della forza del vento. Lotto: alberi piegati, violento temporaleLei è morta e lui la piange senza requie Il volto di lei è gonfio, quasi tumefatto. E’ il 26 aprile 1478.
Site officiel du musée du Louvre Digital Dada Library - The International Dada Archive - The University of Iowa The Digital Dada Library provides links to scanned images of original Dada-era publication in the International Dada Archive. These books, pamphlets, and periodicals are housed in the Special Collections Department of The University of Iowa Libraries. Each original document has been scanned in its entirety. These are page-image files only, not searchable full-text files. The Digital Library is divided into two sections. The second section includes books by some of the participants in the Dada movement, as well as some of the more ephemeral Dada-era publications, such as exhibition catalogs and broadsides. These documents are provided for research purposes only. Enter the Digital Dada Library.
Mandragore - écran d'accueil 100 Ideas That Changed Art by Maria Popova From cave paintings to the internet, or how art and cultural ideology shape one another. On the heels of yesterday’s 100 Ideas That Changed Photography comes 100 Ideas That Changed Art (public library) — a succinct account of the most influential developments in the history of art, from cave paintings to the internet, compiled by art historian and broadcaster Michael Bird. From conceptual innovations like negative space (#98), color codes (#33), and street art (#94) to landmarks of communication like making books (#21), propaganda (#12), and handwriting (#24) to ideological developments like “less is more” (#30), protest (#79), and the body as surface (#9), each idea is contextualized in a 500-word essay with key visual examples. Bird writes in the introduction: What does it mean to ‘change art’? Polykleitos was credited with 'the idea that statues should stand firmly on one leg only.' Images and captions courtesy of Laurence King Donating = Loving Share on Tumblr
Medieval art history and the web 2.0. A selection of online resources for medievalists | Mittelalter This simple overview of Internet resources for historians of medieval art is a “work in progress”, which can already help scholars and students. The current list of principally open access resources will be completed, modified, reshaped (as well as the proposed categories) and your ideas are important to make this tool a useful one for our daily scientific activity. I thus welcome any suggestion for improvement ! The web links cover the fields that I know best and only reflect my own (French) practice : medieval art (mainly stone sculpture, ivories and wall painting), medieval architecture, cultural and built heritage, archives and libraries of particular interest to medievalists. - Medieval and Renaissance art history – Main portals, websites, blogs and newsfeeds : Ménestrel | Medievalists on the web : Le blog de l’A.P.A.H.A.U. : L’Agenda du Médiéviste | Réseau des médiévistes belges de langue française : Pecia.
How Aubrey Beardsley’s Visionary Illustrations for Oscar Wilde’s ‘Salome’ Subverted Victorian Gender Norms and Revolutionized the Graphic Arts In his short life, Aubrey Beardsley (August 21, 1872–March 16, 1898) became a pioneer of the Art Nouveau movement and forever changed the course of the graphic arts. He was an artist of elegant and unsentimental exaggeration, and yet beneath his grotesque aesthetic lay a subtle sensitivity to human fears, longings, and relationships. Susan Sontag placed him in the canon of camp, but Beardsley’s significance radiates far beyond what she called “stylization.” In her terrific 1968 treatise Black and White: A Portrait of Aubrey Beardsley (public library), British novelist, critic, music scholar, and social reformer Brigid Brophy calls Beardsley “the most intensely and electrically erotic artist in the world” and “perhaps the only artist of any kind practicing in [that period] who was never sentimental.” Live (love) now: die sooner or later. A scholar of Mozart and an astute cross-pollinator of the arts, Brophy — a lyrical genius herself — writes: