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The first issue of the new periodical dedicated to art history art in the countries around the Baltic Sea. Co-publishers of the journal: Estonian Academy of Arts, Gdansk University and three Lithuanian institutions: Vilnius Academy of Art, Lithuanian Art Museum, and Culture, Philosophy and Arts Research Institute.
For nearly three centuries Leonardo da Vinci's work was known primarily through the abridged version of his Treatise on Painting, first published in Paris in 1651 and soon translated into all the major European languages. Here for the first time is a study that examines the historical reception of this vastly influential text. This collection charts the varied interpretations of Leonardo's ideas in French, Italian, Spanish, English, German, Dutch, Flemish, Greek, and Polish speaking environments where the Trattato was an important resource for the academic instruction of artists, one of the key sources drawn upon by art theorists, and widely read by a diverse network of artists, architects, biographers, natural philosophers, translators, astronomers, publishers, engineers, theologians, aristocrats, lawyers, politicians, entrepreneurs, and collectors. The cross-cultural approach employed here demonstrates that Leonardo's Treatise on Painting is an ideal case study through which to chart the institutionalization of art in Europe and beyond for 400 years. The volume includes original essays by scholars studying a wide variety of national and institutional settings. The coherence of the volume is established by the shared subject matter and interpretative aim: to understand how Leonardo's ideas were used. With its focus on the active reception of an important text overlooked in studies of the artist's solitary genius, the collection takes Leonardo studies to a new level of historical inquiry. Leonardo da Vinci's most significant contribution to Western art was his interpretation of painting as a science grounded in geometry and direct observation of nature. One of the most important questions to emerge from this study is, what enabled the same text to produce so many different styles of painting?
The study of funeral monuments is a growing field, but monuments erected to commemorate children have so far received little attention. Whilst the practice of erecting monuments to the dead was widespread across Renaissance Europe, the vast majority of these commemorated adults, with children generally only appearing as part of their parents' memorials. However, as this study reveals, in Poland there developed a very different tradition of funerary monuments designed for, and dedicated to, individual children - daughters as well as sons. The book consists of five major parts, which could be read in any order, though the overall sequencing is based on the premise that an understanding of the context and background will enhance a reading of these fascinating child monuments. Consequently, there is a progression of knowledge presented from the broader context of the earlier parts, towards the final parts where the actual child monuments are discussed in detail. Thus the book begins with an overview of the wider cultural contexts of funerary monuments and where children fitted into this. It then moves on to to look at the 'forgotten Renaissance' of central Europe and specifically the situation in Poland. The middle part addresses the 'culture of memory', examining the role of funerary monuments in reinforcing social, religious and familial continuity. The last parts deal with the physical monuments: empirical data, iconography and iconology. Through this illuminating consideration of children's monuments, the book raises a host of fascinating questions relating to Polish social and cultural life, family structure, attitudes to children and gender. It also addresses the issue of why Poland witnessed this unusual development, and what this tells us about the transmission of cultural and artistic ideas across Renaissance Europe. Drawing upon social and cultural history, visual and gender studies, the work not only asks important new questions, but provides a fresh perspective on some familiar topics and themes within Renaissance history.
This is the first comprehensive study of the role of women in the Polish Piast dynasty from 965 until c.1144, comparing them with female members of other contemporary medieval dynasties.
Focused on the formative force of national identity for the Poles the transmission of values the book offers a tour of a huge set of primary sources from the period 966-1138 in search of the traditions of the Piasts the ruling dynasty of Poland.
This book traces how four early Renaissance masters represented the Creation of Eve, which showed woman rising weightlessly from Adam's side at God's command.
This commentary is the sequel to G.A.A. Kortekaas' The Story of Apollonius, King of Tyre: A Study of Its Greek Origin and an Edition of the Two Oldest Latin Recensions. Whereas the critical edition (2004) could only briefly touch upon the numerous problems raised by the text concerning the origin (Latin or rather Greek?), the time and place of creation, the genesis of the text, the interrelation between the numerous manuscripts, especially between the two main recensions RA and RB, the present volume does address these issues in a detailed commentary, word by word and line by line. The many links with the Greek Novel, which today stands in the centre of scholarly interest, are striking. In this commentary the author attempts to show that the novel originated in Greece, or more precisely Asia Minor, possibly Tarsus. The two recensions (RA and RB) are closely compared, preference generally being given to RA. The volume discusses in detail the most recent publications on the subject. All these aspects make the present commentary attractive to scholars of many different disciplines.
The year 2014 marks the 300th anniversary of the death of the great German Baroque sculptor and architect Andreas Schlüter. In commemoration, this second issue of the new serial publication »Schlüteriana: Studies in the Art, Life, and Milieu of Andreas Schlüter«*, written and edited by its author, presents two articles on this brilliant artist’s creations. Schlüter was a master of truly international significance whose work is relatively well-known to scholars and the general public within the borders of Europe’s German-speaking countries but much less so to readers outside them. Yet a great deal of research, cataloguing, and analysis of his art still remains to be accomplished and it is the aim of this and future volumes of »Schlüteriana« to fulfill the task. Featured in this issue are important facets of Schlüter’s output: his drawings and funerary sculpture. Examined here are rare drawings with allegorical/astro­nomical themes ascribed to his almost non-existent oeuvre of works on paper. Included as well is the first installment of a major, two-part study on the sculptor’s tomb art in Poland and Germany. In »Part One: Poland«, projects from the artist’s earliest years are studied in detail with key examples from contemporary European Baroque sepulchral monuments brought forward as comparisons to highlight their significance for Schlüter’s artwork. The examination continues in the second installment »Part Two: Germany« to be published in »Schlüteriana III«. Both studies shall provide a complete overview – in an essay/catalogue-form – of Andreas Schlüter’s documented and attributed funerary monuments located in these countries. * »Schlüteriana I« first appeared in »Aus Hippocrenes Quell’. Ein Album amico­rum kunsthistorischer Beiträge zum 60. Geburtstag von Gerd-Helge Vogel« published by Lukas Verlag in 2011.
A union list of serials commencing publication after Dec. 31, 1949.