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The stormy and often war-torn history of Hungary has been the background for a flourishing industry of gold and silversmith's work. Unfortunately, Hungarian silver is little known outside Hungary, but the outstanding collection of pieces acquired in the West over the last three decades by Nicolas Salgo and spanning more than four centuries of the goldsmith's craft provides a highly representative survey of the remarkable work of the Hungarian craftsmen. More than one hundred and twenty works have been brought together and illustrated in this book; maker's marks are identified whenever possible and reproduced alongside the pieces on which they appear. Provenance and literature are also provided. An outline history of Hungary, followed by a brief survey of the goldsmith's craft and of the guild system, set the pieces in their historical context, while notes on the goldsmiths represented in the collection and an appendix of makers' and town marks complete this invaluable book.
This catalogue accompanies the Fall 2005 exhibition that celebrates the flowering of art in medieval Prague, when the city became not only an imperial but also an intellectual and artistic capital of Europe. Scholars trace the distinctly Bohemian art that developed during the reigns of Holy Roman Emperor Charles IV and his sons; the artistic achievements of master craftsmen; and the rebuilding of Prague Castle and of Saint Vitus' Cathedral. -- Metropolitan Museum of Art website.
This fascinating study of art gallery interiors examines the changing ideals and practices of galleries in Europe and North America from the 18th to the late 20th century. It offers a detailed account of the different displays that have been created—the colors of the background walls, lighting, furnishings, the height and density of the art works on show—and it traces the different scientific, political and commercial influences that lay behind their development. Charlotte Klonk shows that scientists like Hermann von Helmholtz and Wilhelm Wundt advanced theories of perception that played a significant role in justifying new modes of exhibiting. Equally important for the changing modes of exhibition in art galleries was what Michael Baxandall has called “the period eye,” a way of seeing informed by the impact of new fashions in interior decoration and by department store and shop window displays. The history of museum interiors, she argues, should be appreciated as a revealing chapter in the broader history of experience.
Hoewel enorm invloedrijk in Duitstalig Europa, heeft de conceptuele geschiedschrijving (Begriffsgeschichte) tot nu toe weinig aandacht in het Engels gekregen. Dit genre van intellectuele geschiedschrijving verschilt van zowel de Franse geschiedschrijving van mentalités als de Engelstalige geschiedschrijving van verhandelingen door het concept. Aan de hand van practische voorbeelden in de geschiedschrijving wordt deze vorm toegelicht door Bram Kempers, Eddy de Jongh en Rolf Reichardt.
Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.
Scientific Instruments between East and West is a collection of essays on aspects of the transmission of knowledge about scientific instruments and the trade in such instruments between the Eastern and Western worlds, particularly from Europe to the Ottoman Empire. The contributors, from a variety of countries, draw on original Arabic and Ottoman Turkish manuscripts and other archival sources and publications dating from the fifteenth to the twentieth centuries not previously studied for their relevance to the history of scientific instruments. This little-studied topic in the history of science was the subject of the 35th Scientific Instrument Symposium held in Istanbul in September 2016, where the original versions of these essays were delivered. Contributors are Mahdi Abdeljaouad, Pierre Ageron, Hamid Bohloul, Patrice Bret, Gaye Danışan, Feza Günergun, Meltem Kocaman, Richard L. Kremer, Janet Laidla, Panagiotis Lazos, David Pantalony, Atilla Polat, Bernd Scholze, Konstantinos Skordoulis, Seyyed Hadi Tabatabaei, Anthony Turner, Hasan Umut, and George Vlahakis. See inside the book here.
The Second World War is omnipresent in contemporary memory debates. As the war fades from living memory, this study is the first to systematically analyze how Second World War museums allow prototypical visitors to comprehend and experience the past. It analyzes twelve permanent exhibitions in Europe and North America – including the Bundeswehr Military History Museum in Dresden, the Museum of the Second World War in Gdańsk, the House of European History in Brussels, the Imperial War Museums in London and Manchester, and the National WWII Museum in New Orleans – in order to show how museums reflect and shape cultural memory, as well as their cognitive, ethical, emotional, and aesthetic potential and effects. This includes a discussion of representations of events such as the Holocaust and air warfare. In relation to narrative, memory, and experience, the study develops the concept of experientiality (on a sliding scale between mimetic and structural forms), which provides a new textual-spatial method for reading exhibitions and understanding the experiences of historical individuals and collectives. It is supplemented by concepts like transnational memory, empathy, and encouraging critical thinking through difficult knowledge.