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Full-Text Articles in Theory and Criticism

Νεολιθική Μακεδονία, Kosmas Touloumis May 2001

Νεολιθική Μακεδονία, Kosmas Touloumis

Kosmas Touloumis

No abstract provided.


Biblical Assyria And Other Anxieties In The British Empire, Steven W. Holloway Jan 2001

Biblical Assyria And Other Anxieties In The British Empire, Steven W. Holloway

Libraries

The successful “invasion” of ancient Mesopotamia by explorers in the pay of the British Museum Trustees resulted in best-selling publications, a treasure-trove of Assyrian antiquities for display purposes and scholarly excavation, and a remarkable boost to the quest for confirmation of the literal truth of the Bible. The public registered its delight with the findings through the turnstyle- twirling appeal of the British Museum exhibits, and a series of appropriations of Assyrian art motifs and narratives in popular culture - jewelry, bookends, clocks, fine arts, theater productions, and a walk-through Assyrian palace among other period mansions at the Sydenham Crystal Palace ...


The Language Of Art: A Conversation Between Henri Matisse And Pablo Picasso, Marisa Jones Hooser Jan 2001

The Language Of Art: A Conversation Between Henri Matisse And Pablo Picasso, Marisa Jones Hooser

Theses, Dissertations and Capstones

This study focuses on the dialog between Henri Matisse and Pablo Picasso and lays a unique groundwork for instructors in Discipline-Based art education (DBAE). Using two artists, rather than one, it reveals the importance of the basic art elements in a comparative analysis and stylistic variation of both. The art of Matisse and Picasso was intertwined even before their first meeting as it continued to be even after Matisse’s death. It is popular belief that Matisse and his work influenced Picasso’s career, but surprisingly little attention has focused on the influence of Picasso on Matisse’s work or ...


Hogarth And The Aesthetics Of Nationalism, Timothy Erwin Jan 2001

Hogarth And The Aesthetics Of Nationalism, Timothy Erwin

English Faculty Publications

All commentary on Hogarth begins in want and ends in surfeit. His images filled the blank slate of modern consciousness to overflowing with their antic inventiveness, moral urgency, and keen humor. In substituting the precised elineation of individual character for the coded outline of Continental history painting, Hogarth aimed at nothing less than a national revolution in taste. At home the opposition was the taste of connoisseurs and collectors such the third earl of Shaftesbury, as Ronald Paulson and others have demonstrated.' The opposition abroad was the academic tradition upon which these preferences were largely based, and primarily the school ...