scholarly journals An Artist's Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes - iconographic and stylistic influences and underdrawing study

2020 ◽  
Vol 34 ◽  
pp. 73-87
Author(s):  
Vanessa Antunes ◽  
Vitor Serrão ◽  
António Candeias ◽  
José Mirão ◽  
Sara Valadas ◽  
...  
Keyword(s):  
Stylistic Influences

On the Politics of Decadent Rebellion: Beardsley, Japonisme, Rococo

2021 ◽  
Vol 49 (4) ◽  
pp. 643-666
Author(s):  
Rachel Teukolsky
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Graphic Designer ◽  
Stylistic Influences

The graphic designer Aubrey Beardsley created perverse, grotesque illustrations that encapsulate our sense of decadent visuality. This essay explores Beardsley's use of foreign styles, specifically those of nineteenth-century Japan and eighteenth-century France. Looking at Beardsley's illustrations for Salomé (1893) and The Rape of the Lock (1895), the essay argues that the Japanese and French stylistic influences are actually connected, despite their diverse geographies and temporalities. Studying both styles together reveals the ways that decadence embraced hierarchy and the inequality of persons, wielding a surprisingly normative politics of racial and cultural otherness to produce a Victorian counterculture. Decadence harnessed these familiar imperial-era attitudes in strange ways, using models of taboo difference to create a transgressive aesthetics that moved toward both embodiment and abstraction.

scholarly journals Austrian-Italian Encounters: Notes on Some Films Produced Between Rome and Vienna in the 1930s

2019 ◽  
Vol 5 (1) ◽  
pp. 55
Author(s):  
Francesco Bono
Keyword(s):  
19Th Century ◽  
The Political ◽  
Late 19Th Century ◽  
Cultural Traditions ◽  
European Cinema ◽  
History Of ◽  
Italian Film ◽  
Stylistic Influences ◽  
Corporate State ◽  
Shed Light

This essay deals with a number of Italian and Austrian films produced around the mid-1930s as a result of the cinematic cooperation that developed between Rome and Vienna at the time. The essay’s goal is to investigate a complex chapter in the history of Italian and Austrian film which has yet received little attention. The Austro-Italian cooperation in the field of film, which developed against the backdrop of the political alliance between Fascist Italy and Austria’s so-called Corporate State, involved some of the biggest names in Italian and Austrian cinema of the time, including Italian directors Carmine Gallone, Augusto Genina and Goffredo Alessandrini, Viennese screenwriter Walter Reisch, and Italian novelist Corrado Alvaro. In particular, the essay will consider the Italian film Casta Diva (1935) and its debt to one of the most famous Austrian productions of the 1930s, Willi Forst’s film Leise flehen meine Lieder (1933). Further films to be discussed include Tagebuch der Geliebten (1935), Una donna tra due mondi (1936), Opernring (1936), and Blumen aus Nizza (1936). Tagebuch der Geliebten was based on the diary of Russian painter Marie Bashkirtseff, who lived in Paris in the late 19th century. Una donna tra due mondi starred Italian diva Isa Miranda, Opernring Polish tenor Jan Kiepura, Blumen aus Nizza German singer Erna Sack.These films should be truly regarded as transnational productions, in which various cultural traditions and stylistic influences coalesced. By investigating them, this essay aims to shed light on a crucial period in the history of European cinema.

Stylistic Influences in Early Manx Sculpture

2009 ◽  
Author(s):  
David M. Wilson
Keyword(s):  
Irish Sea ◽  
Isle Of Man ◽  
Stylistic Influences ◽  
The Irish Sea

This chapter examines the influences in the early sculpture in the Isle of Man, particularly the crosses that were previously described as Celtic. It suggests that the inscriptions in the Manx sculpture epigraphically and linguistically relate the island to the lands round the Irish Sea, while their typology and style history provide rough chronological yardsticks. The findings reveal that most pre-Viking memorial stones can be found in cemeteries on the sites of keeills.

scholarly journals Los influjos estilísticos europeos en las producciones de cerámica asturiana de la Edad Moderna

Liño ◽  
2019 ◽  
Vol 25 (25) ◽  
pp. 9
Author(s):  
Miguel Busto Zapico
Keyword(s):  
The Netherlands ◽  
Early Modern ◽  
Basque Country ◽  
Early Modern Period ◽  
Xviii Century ◽  
Modern Period ◽  
Stylistic Influences ◽  
Pais Vasco

A través del estudio de  3.237 piezas cerámicas de cronologías que van desde el siglo XIII al XVIII queremos conocer cuáles eran los influjos estilísticos europeos en las producciones de cerámica asturiana. A comienzos de la Edad Moderna los mercados asturianos comienzan a estar inundados por cerámicas de importación, principalmente procedentes de Holanda, Talavera de la Reina, Portugal, Sevilla, País Vasco e Inglaterra. La llegada de estas producciones influirá en las decoraciones desarrolladas en los alfares asturianos de Faro de Limanes y Miranda de Avilés. En esta investigación veremos como en piezas asturianas aparecen motivos creados en Talavera de la Reina, Portugal, Italia, Francia e incluso Holanda. Estas influencias señalan la capacidad de la artesanía del barro asturiana de asimilar novedades, de adaptarse a las nuevas modas decorativas europeas y a las demandas de la sociedad.The European stylistic influences in the Asturian ceramic productions of the Early Modern Period.Through the study of 3,237 ceramic pieces of chronologies that go from the XIII to the XVIII century, we want to know what the European stylistic influences in the production of Asturian ceramics were. At the beginning of the Early Modern Period the Asturian markets began to be flooded by imported ceramics mainly from the Netherlands, Talavera de la Reina, Portugal, Seville, the Basque Country and England. The arrival of these productions will influence the decorations developed in the Asturian potteries of Faro de Limanes and Miranda de Avilés. In this investigation we will see how in Asturian pieces, there are motifs created in Talavera de la Reina, Portugal, Italy, France and even Holland. These influences point to the ability of the Asturian mud crafts to assimilate novelties, the means of adaptation to the new European decorative forms and the demands of society. 

Peruvian Stylistic Influences in Ecuador

1948 ◽  
Vol 4 ◽  
pp. 80-86
Author(s):  
Donald Collier
Keyword(s):  
The Past ◽  
Its Regions ◽  
Historical Importance ◽  
Stylistic Influences ◽  
Made In

Several attempts have been made in the past to recognize in prehistoric Ecuador the influence of various Peruvian horizon styles. These Peruvian influences, if real, are of considerable chronological and historical importance. It is my purpose to examine and assess them by considering three groups of Ecuadorean materials, namely, ceramics, gold, and gilded copper from Azuay, and carved stone from Manabí.In order to interpret fully the meaning of Peruvian resemblances in Ecuador, it is necessary to know the relative chronological position of the Ecuadorean materials showing these resemblances. Unfortunately, despite the advantage of a widely distributed Inca horizon style in Ecuador, which serves to identify the terminal phases of regional archaeological sequences, there is no satisfactory chronological system for the country as a whole, nor for any one of its regions.

Local Forms and Ifranji Pleasures

2017 ◽  
Author(s):  
Toufoul Abou-Hodeib
Keyword(s):  
Middle Class ◽  
Inner City ◽  
Raw Material ◽  
Production And Consumption ◽  
The Press ◽  
Stylistic Influences ◽  
The City

Looking beyond the anxiety over “ifranji” influence, this chapter examines how popular domestic items were marketed, the outlets where they could be acquired, and the labor, material, and styles that went into their production. The chapter shows how advertisements in the press promoted the latest fashionable imports while trying to advocate local industries. In addition, both modern and old inner city souks were not set apart by imported and traditional goods, respectively, but rather by a growing separation between areas of production and consumption across the city. Finally, the most popular domestic items involved labor, raw material, and stylistic influences that cut across the local, regional, and global levels. This crisscrossing not only rendered the line between ifranji and Oriental difficult to trace in reality, but also complicated the intellectual project of middle-class modernity.

Francesco Landini and the Florentine cultural élite

1983 ◽  
Vol 3 ◽  
pp. 83-99 ◽  
Author(s):  
Michael P. Long
Keyword(s):  
Fourteenth Century ◽  
Structural Features ◽  
Musical Style ◽  
Cultural Elite ◽  
Number Of Factors ◽  
Stylistic Influences ◽  
Italian Music ◽  
Musical Process

The French orientation of Florentine music in the second half of the Trecento, particularly with regard to the practice and theory of notation, has been recognised by music historians since the surveys of medieval sources and style made by Johannes Wolf and Friedrich Ludwig at the beginning of this century. The evidence for the ‘contenance française’ that has been most frequently cited includes texting procedures in three-voice compositions, structural features (such as the appearance of verto and chiuso endings in the polyphonic ballata), textual gallicisms and the presence of French compositions in Florentine musical manuscripts. The network of transmission which accounts for the appearance of these features in Italian music and musical sources has remained a matter for speculation. The fusion of French and Florentine traits of style in the last quarter of the fourteenth century has traditionally been viewed, at least in part, as a result of presumed personal contacts between French and Italian composers. The changing face of musical style does not, however, reflect a totally independent musical process; style is a function of the tastes and demands of an audience, as well as of the artistic personalities of specific composers. Florentine receptivity to French stylistic influences was determined by a number of factors, not the least important of which was the nature of the audience for music.

scholarly journals Ernő Foerk and Gyula Sándy’s Tüköry Mansion in Dioš, Croatia: Genealogy of Architectural and Stylistic Features

2019 ◽  
Vol 7 (2) ◽  
pp. 40-51
Author(s):  
Boris Dundović
Keyword(s):  
Architectural Design ◽  
Focal Point ◽  
Northern Italy ◽  
Country House ◽  
Permanent Residence ◽  
Close Proximity ◽  
Main Factors ◽  
Stylistic Influences ◽  
Art And Architecture ◽  
The Mansion

Abstract Tüköry Mansion in Dioš (Diósszentpál), Croatia, was designed by architects Ernő Foerk and Gyula Sándy in 1904. It is situated near the Central Slavonian town of Končanica and in close proximity of Daruvar, on an estate that belonged to Tüköry family. The late-historicist country house was commissioned by Paula von Falkenberg, a widow of Alajos Tüköry de Algyest, as a permanent residence for her and her three children. It was built in the eclectic late-historicist style of fin-de-siècle Hungary, highly inspired by the late-mediaeval art and architecture of northern Italy. Those stylistic influences were strongly manifested in the architectural design of the mansion, but even more its great hall, the focal point of its layout, designed in 1904–05. Based on both archival and terrain research, this paper aims to determine the main factors of cultural and architectural identity of the mansion by elucidating its history and stylistic genealogy.

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