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  1. Há 3 dias · “O mais célebre de todos os pintores venezianos”, para o historiador da arte Ernst Gombrich, foi Ticiano. O renascentista do século 16 era tão bom que, segundo seus primeiros biógrafos, o ...

  2. Há 4 dias · The series’ other highlights so far are Ernst Gombrich on frescoes and Griselda Pollock on Gauguin. Tell us what you think. Will you be taking any of these books on your summer holiday this year?

  3. Há 1 dia · The great Ernst Gombrich begins his The Story of Art by proclaiming: “There really is no such thing as Art. There are only artists.” Gombrich’s insight is foundational, even if at first reading it sounds misleadingly exaggerated, in that it anchors human endeavours and experience into human personhood.

  4. Há 1 dia · Este trabalho tem por objetivo discutir a possibilidade da arte urbana, mais especificamente o graffiti, contribuir no processo de apropriação e identificação do espaço urbano. Assim, este estudo de caso propõe a análise das intervenções artísticas em dois elementos construtivos: o Ginásio Valdir Pinheiro e o Velódromo na Vila Olímpica, ambos localizados em Maringá (PR). A ...

  5. Há 3 dias · As Ernst Gombrich famously pointed out in 'Art and Illusion' about the relationship between function and form of images: "The test of the image is not its lifelikeness but its efficacy within a context of action."

  6. Há 4 dias · Ernst Gombrich was of course the art historian who managed to turn Popper's politics into an aesthetics, deployed against the world of critical theory which surrounded him. Carruthers, too, I feel, has attempted to write a book on aesthetic theory without any interest in that other side of the Warburgian tradition, that which is ...

  7. mavex.hypotheses.org › date › 2024/06/1818 | juin | 2024 | MAVEX

    Há 3 dias · Réunis par Roland Barthes, Giulio Macchi et son assistant Jean-Loup Rivière, les chercheurs Ernst Gombrich, Hubert Damisch, Michel Imbert, Richard Gregory et René König, ainsi que le cinéaste Michelangelo Antonioni, se réunissent le 11 mars 1977 pour évoquer la façon dont leurs travaux personnels peuvent s’insérer dans un projet collectif consacré à l’image.

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