Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
72
result(s) for
"Barock"
Sort by:
A Delicate Matter
Eighteenth-century France witnessed an unprecedented
proliferation of materially unstable art, from oil paintings that
cracked within years of their creation to enormous pastel portraits
vulnerable to the slightest touch or vibration. In A Delicate
Matter , Oliver Wunsch traces these artistic practices to the
economic and social conditions that enabled them: an ascendant
class of art collectors who embraced fragile objects as a means of
showcasing their disposable wealth.
While studies of Rococo art have traditionally focused on style
and subject matter, this book reveals how the physical construction
of paintings and sculptures was central to the period's
reconceptualization of art. Drawing on sources ranging from
eighteenth-century artists' writings to twenty-first-century
laboratory analyses, Wunsch demonstrates how the technical
practices of eighteenth-century painters and sculptors provoked a
broad transformation in the relationship between art, time, and
money. Delicacy, which began the eighteenth century as a
commodified extension of courtly sociability, was by century's end
reimagined as the irreducible essence of art's autonomous
value.
Innovative and original, A Delicate Matter is an
important intervention in the growing body of scholarship on
durability and conservation in eighteenth-century French art. It
challenges the art historical tendency to see decay as little more
than an impediment to research, instead showing how physical
instability played a critical role in establishing art's meaning
and purpose.
eBook
Hymnus novus
In der Wiener Franziskanerprovinz gibt es Handschriften aus der 1. Hälfte des 18. Jahrhunderts, welche die Verwendung von Figuraliter-Hymnen im barocken Stil für das Stundengebet bezeugen. Im Text werden zunächst diese Melodien und deren Verbreitung beschrieben. Danach richtet sich das Augenmerk auf die Generalbassbegleitungen der zeitgenössischen Orgelbücher.
Journal Article
Hans Rose, Commentary to Heinrich Wölfflin, Renaissance and Baroque, fourth edition, Munich: Bruckmann, 1926, 181-328, translation by Arnold Witte and Andrew Hopkins
The Commentary by Hans Rose was published as an appendix to the fourth edition of Heinrich Wölfflin’s Renaissance und Barock - eine Untersuchung über Wesen und Entstehung des Barockstils in Italien, published in 1926. It was almost as long as the original text by Wölfflin and intended to discuss the new approaches on the Italian Baroque developed in German academia in the 1920s. It was divided up into four sections of unequal length, which discuss Subjectivism, Material and Colour, Urban Planning, and St Peter’s respectively.
Journal Article
Microanalytical study of luster glazed gilding and silvering from Baroque altarpieces
Lustering, a technique which involved the application of coloured translucent glazes over gilding and silvering was widely used to enrich and decorate altarpieces in the Baroque period. The decorations consist of a micrometric multilayered structure including several color glazes, metallic leaves and
applied over a plaster ground. The collection of Baroque altarpieces, the oldest dating 1671 and the newest 1775 from the cathedral of Tortosa (Catalonia), is a perfect case of study of the materials used and the techniques employed throughout the period. Further information is obtained from the analysis of the reaction and aging compounds resulting from the interaction among the compounds present in the layers and between the different layers. A combination of sensitive analytical techniques, Synchrotron based μ-XRD and μ-IR and SEM-EDS which enabled the luster samples to undergo analysis without altering their original layered microstructure were selected. The nature of the compounds used to produce the yellow, green, red and blue glazes (pigments, pigment lakes and resins), metallic leaves and boles is presented. Relevant information from historical and conservation viewpoints about the origin and nature of the materials used, the making of the lusters and their reactivity and aging are also discussed.
Journal Article
Das Geschäft mit Nachrichten
The following essay examines current research on the history of communications in the so-called early modern era, which still reiterate a Whig approach to media history. Based on a definition of news and its social functions, a different understanding of the contemporary news market is proposed. This market can not be unterstood properly on the basis of notions of a print-based public sphere or media systems. News was and is an investment in social relationships that resulted in forms of participation. They are also a means of participation in contemporaneity, which was part of the lifestyle of functional elites. The understanding of the news market in the seventeenth century outlined here not only questions the periodization of early modern times and related ideas about the so-called modernity, especially within the field of the history of communication. It also offers a different understanding of the social functions of news with repercussions for the contemporary news market.
Journal Article
Hubert Fichtes Barock. Eine poet(olog)ische Epochenmodellierung und ihr literaturgeschichtlicher Kontext
Aus literaturgeschichtlicher Perspektive scheinen Hubert Fichtes Einlassungen zum ‚Barock‘ in vielerlei Beziehungen ein Missverständnis. Das ist kaum zu korrigieren, wenn man sie, wie bisweilen geschehen, einfach beim Wort nimmt und Fichtes Aneignung zum Maßstab eines Epochenverständnisses setzt. Der Beitrag setzt auf einen dritten Modus der Lektüre und versucht, Fichtes Barock als „Möglichkeitsform“ (Bernd Mahr) zu verstehen, die erstens Patin für seine rhetorisch-polemische Strategie der ‚Übertreibung‘ stehen kann, zweitens ein Paradigma für die Vorstellung von Literatur als ‚Correspondance‘ bietet und drittens erlaubt, die Figur des ‚Manierismus‘ als anthropologisches Bezugskonzept zu reformulieren.
Journal Article
Adventures with the Theory of the Baroque and French Philosophy
Analysing the reception of contemporary French philosophy in architecture over the last four decades, Adventures with the Theory of the Baroque and French Philosophy discusses the problematic nature of importing philosophical categories into architecture. Focusing particularly on the philosophical notion of the Baroque in Gilles Deleuze, this study examines traditional interpretations of the concept in contemporary architecture theory, throwing up specific problems such as the aestheticization of building theory and practice. Identifying these and other issues, Nadir Lahiji constructs a concept of the baroque in contrast to the contemporary understanding in architecture discourse. Challenging the contemporary dominance of the Neo-Baroque as a phenomenon related to postmodernism and late capitalism, he establishes the Baroque as a name for the paradoxical unity of ‘kitsch’ and ‘high’ art and argues that the digital turn has enhanced the return of the Baroque in contemporary culture and architectural practice that he brands a pseudo-event in the term ‘neobaroque’. Lahiji’s original critique expands on the misadventure of architecture with French Philosophy and explains why the category of the Baroque, if it is still useful to keep in architecture criticism, must be tied to the notion of Post-Rationalism. Within this latter notion, he draws on the work of Alain Badiou to theorize a new concept of the Baroque as Event. Alongside close readings of Walter Benjamin, Theodor Adorno and Michel Foucault related to the criticism of the Baroque and Modernity and discussions of the work of Frank Gehry, in particular, this study draws on Jacque Lacan’s concept of the baroque and presents the first comprehensive treatment of the psychoanalytical theory of the Baroque in the work of Lacan.
eBook
Figura als Bild
Im Diskurs um \"figura\" kristallisieren sich in Mittelalter und früher Neuzeit vielzählig facettenreiche Vorstellungen von der Medialität bildlicher Figurenevidenz, die sich exemplarisch im Werk von Dürer fassen lassen.Entstammt \"figura\" als Begriffskategorie der Rhetorik und der biblisch-theologischen Exegese, so ist sie doch zugleich auch den vielfältigen Diskursen um die bildliche Formschaffung aus der Kraft einer figurierenden Imagination verknüpft. Im Zentrum steht dabei die Frage, welche visuelle und materielle Konkretheit der figuralen Bildlichkeit und ihrer ästhetischen Gestalt zukommt. Mit \"figura\" werden gleichsam die medialen Bedingungen und Effekte der bildlichen Evidenz mit all ihren Interferenzen von Repräsentation und Präsenz, dem 'Was' und dem 'Wie' des Bildes aufgerufen. Diese Evidenz reicht über die Figürlichkeit im Sinn einer gegenständlich fassbaren und motivisch definierten Repräsentation hinaus und hebt auf eine Sinnfülle und Erfahrungsdimension des Dargestellten ab, die sich wesentlich aus der Präsenz seiner bildlichen Erscheinung selbst ergibt und jenseits des ästhetischen Soseins dieser bildnerisch-medialen Ausprägung nicht zu fassen ist. Das facettenreiche Spektrum dieses Diskurses umfasst mittelalterliche Kontroversen um Christi figurale Gegenwart im Bild oder Entwürfe der \"imago figurata\" im Barock ebenso wie künstlerische Praktiken der Renaissance, etwa bei Leonardo und in exemplarischer Weise bei Albrecht Dürer.
eBook
