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Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture
Fra Angelico In San Marco: A Comparison Of Fra Angelico’S Frescoes And Altarpieces During His Time In San Marco, Isaac Copeland
Fra Angelico In San Marco: A Comparison Of Fra Angelico’S Frescoes And Altarpieces During His Time In San Marco, Isaac Copeland
Tenor of Our Times
Fra Angelico stood at the crossroads of two major art movements in the early 15th century, the old International Gothic style, and the new Renaissance style. During his stay at San Marco between 1436, when the monastery moved to Florence, and 1445, when Fra Angelico was summoned to Rome, his work reflected elements of both the International Gothic style and the Renaissance style. However, in his works at San Marco, his panel paintings were more conservative, painted with more Gothic conventions than his frescos, which exhibited elements of the rising Renaissance.
Judith Leyster: A Study Of Extraordinary Expression, Nicole J. Cardinale
Judith Leyster: A Study Of Extraordinary Expression, Nicole J. Cardinale
Theses and Dissertations
Judith Leyster’s innovative application of expression in her Self Portrait serves as the focus, whereby she is shown to blend conventional painting categories, preserve a sense of innocence, and confidently flaunt her skills. In turn, Leyster challenged the male-centric art market and stood apart from her artistic predecessors and contemporaries.
Memory In Paintings Of Quattrocentro Renaissance Florence: Religious Paintings And Secular Portraits, Ashley Matcheck
Memory In Paintings Of Quattrocentro Renaissance Florence: Religious Paintings And Secular Portraits, Ashley Matcheck
Psi Sigma Siren
Collective memory studies as a field has always been the interdisciplinary study of how and why memories have been created. The difference between collective or cultural memory studies and that of a strictly historical study is often discussed and debated as people question whether memory or history is more valuable regarding past events. Jan Assmann explains that “in the context of cultural memory, the distinction between myth and history vanishes. Not the past as such, as it is investigated and reconstructed by archaeologists and historians, counts for the cultural memory, but only the past as it is remembered.” Assmann has …