Results for 'Titian'

36 found
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  1. Where Ethics and Aesthetics Meet: Titian's Rape of Europa.A. W. Eaton - 2003 - Hypatia 18 (4):159 - 188.
    Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.
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  2.  5
    Picturing the Messianic: Agamben and Titian’s The Nymph and the Shepherd.Paolo Palladino - 2010 - Theory, Culture and Society 27 (1):94-109.
    In The Open , a series of reflections on the historical endeavours to define the essential features of the human figure in relation to the biological existence it shares with animals, Giorgio Agamben offers a detailed reading of Titian’s painting The Nymph and the Shepherd. He argues that the scene depicted enables the contemporary viewer to visualize the advent of radical freedom, the moment when the historical dialectic of nature and culture comes to a ‘stand-still’. In this article, I (...)
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  3. Titian's Old Testament Cycle.Madlyn Kahr - 1966 - Journal of the Warburg and Courtauld Institutes 29:193-205.
  4. Titian's Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and its Critics.Bernard Aikema - 1994 - Journal of the Warburg and Courtauld Institutes 57:48-59.
  5. The Miraculous Cross in Titian's "Vendramin Family".Philip Pouncey - 1939 - Journal of the Warburg Institute 2 (3):191-193.
  6. Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto. By David Rosand.W. Andersen - 2000 - The European Legacy 5 (3):439-440.
     
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  7.  54
    Alessandro Farnese, Giovanni Della Casa and Titian's Danae in Naples.Roberto Zapperi - 1991 - Journal of the Warburg and Courtauld Institutes 54:159-171.
  8.  31
    Hans Mielich at Titian's Studio.Charles Hope - 1997 - Journal of the Warburg and Courtauld Institutes 60:260-261.
  9.  8
    Titian's WomenDefining the Renaissance Virtuosa: Women Artists and the Language of Art History and Criticism.Mary Wiseman, Rona Goffen & Fredrika H. Jacobs - 2000 - Journal of Aesthetics and Art Criticism 58 (4):420.
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  10.  13
    Titian Ramsay Peale, 1799-1885, and His Journals of the Wilkes Expedition. Jessie Poesch.William Coleman - 1963 - Isis 54 (1):164-165.
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  11.  12
    Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto.David Rosand.Mary-ann Winkelmes - 1999 - Speculum 74 (3):822-824.
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  12.  24
    Doctor Parma's Medicinal Macaronic: Poem by Bartolotti, Pictures by Giorgione and Titian.William Schupbach - 1978 - Journal of the Warburg and Courtauld Institutes 41:350.
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  13.  6
    Painting in AmericaCharles Herbert Moore: Landscape PainterWilliam Page: The American Titian.Paul Mills, E. P. Richardson, Frank Jewett Mather & Joshua C. Taylor - 1959 - Journal of Aesthetics and Art Criticism 18 (1):134.
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  14.  13
    The Source of Titian's Bacchus and Ariadne.Angus Easson - 1969 - Journal of the Warburg and Courtauld Institutes 32:396-397.
  15.  18
    Titian's Allegory of 'Religion'.E. Tietze-Conrat - 1951 - Journal of the Warburg and Courtauld Institutes 14 (1/2):127-132.
  16.  6
    " Most Musical of Mourners, Weep Again!": Titian's Triumph of Marsyas.David Rosand - 2010 - Arion 17 (3):17-43.
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  17.  6
    Bellini and Titian at Ferrara, a Study of Styles and Taste.John Walker - 1958 - Journal of Aesthetics and Art Criticism 17 (1):125-126.
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  18.  5
    Titian Ramsay Peale, 1799-1885, and His Journals of the Wilkes Expedition by Jessie Poesch. [REVIEW]William Coleman - 1963 - Isis 54:164-165.
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  19. Farnese, Alessandro, Dellacasa, Giovanni and Titian'Danae'in Naples.R. Zapperi - 1991 - Journal of the Warburg and Courtauld Institutes 54:159.
     
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  20.  12
    Renaissance Faces: Van Eyck to Titian[REVIEW]April Oettinger - 2011 - Speculum 86 (1):172-173.
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  21.  60
    Matter and Movement’s Presence: Notes on Heidegger, Francesco Mosca, and Bernini.Andrew Benjamin - 2012 - Research in Phenomenology 42 (3):343-373.
    Abstract The role of actual works of art with philosophical writing is often reduced to the status of example or illustration. As such the materiality of art work is rarely discussed let alone deployed as the basis of philosophical reflection. In this paper works by Francesco Mosca, and Bernini are used to question Heidegger's writings on sculpture. What such an approach opens up is the possibility that art may set the measure for philosophy.
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  22.  39
    Noli Me Tangere: On the Raising of the Body.Jean-Luc Nancy - 2009 - Fordham University Press.
    Christian parables have retained their force well beyond the sphere of religion; indeed, they share with much of modern literature their status as a form of address: "Who hath ears to hear, let him hear." There is no message without there first being--or, more subtly, without there also being in the message itself--an address to a capacity or an aptitude for listening. This is not an exhortation of the kind "Pay attention!" Rather, it is a warning: if you do not (...)
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  23. Pure Visuality: Notes on Intellection & Form in Art & Architecture.Gavin Keeney - manuscript
    Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La (...)
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  24.  24
    Theories of Judgment.Wayne Martin - 2008 - Philosophical Studies 137 (1):121-134.
    The paper assesses Martin's recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian's "Allegory of Prudence" , the remainder of the paper focuses on Martin's views on Kant's logic in general and his theory of (...)
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  25.  89
    Beauty, Art and the Western Tradition.Derek Allan - manuscript
    From the Renaissance onwards, the Western tradition singled out the term beauty for a unique and highly prestigious role. As Christian belief began its gradual decline, Renaissance art invented a rival transcendence in the form of an exalted world of nobility, harmony and beauty – the world exemplified by the works of painters such as Raphael, Titian and Poussin. Beauty in this sense quickly became the ruling ideal of Western art, subsequently underpinning the explanations of the nature and function (...)
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  26. On Richard Wollheim.S. Davies, R. Hopkins, J. Robinson & M. Padro - 2004 - British Journal of Aesthetics 44 (3):213-225.
    There was a deep continuity in Wollheim’s thought from his book on F. H. Bradley onward. His notion of the concept of art as deeply interiorized was inextricable from his sense of the psychological unity of the mind and the historical continuity of artistic tradition, seen on analogy with an inherited language. His study of pictorial representation pivoted on the innate psychological capacity of ‘seeing-in’, perceiving the represented subject in a surface from which it was seen as distinct but to (...)
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  27. Kant and the Problem of Existential Judgment: Critical Comments on Wayne Martin’s Theories of Judgment. [REVIEW]Günter Zöller - 2008 - Philosophical Studies 137 (1):121 - 134.
    The paper assesses Martin's recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian's "Allegory of Prudence" (National Gallery, London), the remainder of the paper focuses on Martin's views on Kant's logic in general and his (...)
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  28.  4
    Kant and the Problem of Existential Judgment: Critical Comments on Wayne Martin’s Theories of Judgment.Günter Zöller - 2008 - Philosophical Studies 137 (1):121-134.
    The paper assesses Martin’s recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian’s “Allegory of Prudence”, the remainder of the paper focuses on Martin’s views on Kant’s logic in general and his theory of singular (...)
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  29.  27
    Ideology and Iconology.Giulio Carlo Argan & Rebecca West - 1975 - Critical Inquiry 2 (2):297-305.
    Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...)
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  30.  21
    Liking and Approving of a Work of Art.Francis J. Coleman - 1964 - Review of Metaphysics 17 (4):568 - 576.
    Kant, in The Critique of Judgment, distinguishes liking from approval by describing the former as peculiar to each person and the latter as universalizable. Everyone should be content with his own likes and dislikes; one should not demand that others agree. The adjective that corresponds with one's likes is "pleasant." Thus, if someone should say, "Brahms' 'Haydn Variations' are pleasant," one would accept the correction, "You mean that the 'Variations' are pleasant to you." But if one approves of a work (...)
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  31.  25
    Redefining the Sister Arts: Baudelaire's Response to the Art of Delacroix.Elizabeth Abel - 1980 - Critical Inquiry 6 (3):363-384.
    Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...)
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  32.  12
    Two Visual Excursions.Joshua C. Taylor - 1974 - Critical Inquiry 1 (1):91-102.
    As some artists discovered early in the century, there is a particular pleasure and stimulation to be derived from works of art created by cultures untouched by our own traditions of form. In part this is probably a delight in exoticism, in being away from home, and in part it possibly is our sentiment for cultures we look on as traditional, in a Jungian sense, or primitive in their unquestioning allegiance to simple cultural necessity. But more significantly, without indulging in (...)
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  33.  1
    Author-Meets-Critics: Theories of Judgment by Wayne Martin.R. Lanier Anderson, Hans Sluga & Günter ZÖLLER - 2008 - Philosophical Studies 137 (1):121-134.
    The paper assesses Martin’s recent logico-phenomenological account of judgment that is cast in the form of an eclectic history of judging, from Hume and Kant through the 19th century to Frege and Heidegger as well as current neuroscience. After a preliminary discussion of the complex unity and temporal modalities of judgment that draws on a reading of Titian’s “Allegory of Prudence”, the remainder of the paper focuses on Martin’s views on Kant’s logic in general and his theory of singular (...)
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  34. Brunelleschi's Egg: Nature, Art, and Gender in Renaissance Italy.Mary D. Garrard - 2010 - University of California Press.
    Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...)
     
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  35. Art as "Night": An Art-Theological Treatise.Gavin Keeney - 2010 - Cambridge Scholars Press.
    Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of (...)
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  36.  8
    Portrayal and the Search for Identity.Marcia Pointon - 2013 - Reaktion Books.
    We are surrounded with portraits: from the cipher-like portrait of a president on a bank note to security pass photos; from images of politicians in the media to Facebook; from galleries exhibiting Titian or Leonardo to contemporary art deploying the self-image, as with Jeff Koons or Cindy Sherman. In antiquity portraiture was of major importance in the exercise of power. Today it remains not only a part of everyday life, but also a crucial way for artists to define themselves (...)
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