desde Redalyc
{{t.titulosHerramientas.nube}}
{{t.titulosHerramientas.numeros}}
X
{{t.formats.viewer}}
HTML
{{t.formats.mobile}}
ePUB
XML JATS
{{t.titulosSecciones.citas}}
{{t.titulosSecciones.autorias}}
{{t.titulosSecciones.descargas}}
{{t.titulosSecciones.revision}}
Abstract: The dissemination of Owen Jones’ studies of the Alhambra and his color theory has been increasingly well understood as a cornerstone of the later Alhambresque style. And yet, curiously, Jones offers at once an accurate appreciation of the Alhambra a
en
Abstract: In the second half of the nineteenth century, there was a growing interest in Western countries for Islamic stucco glass windows, which were known from descriptions in books and as imported artifacts. Among the oldest publications is Émile Prisse d’Avennes’ (
en
Abstract: Annexation of the Punjab by the British in 1849 brought about major modifications to the local visual culture. Expecting Indian crafts to remain frozen in time (for several reasons), the colonial administrators and art critics disapproved the changes employed
en
Abstract: One of the most formative narratives of the reform movements around 1900 was a departure from earlier creative principles of imitation, now defamed as an inadequate approach. Thus, artists, architects, and designers were called upon to formulate freer approac
en
Abstract: Traditionally related to concepts of luxury, fancy, and uncontrolled sensuality, color has in Western culture long been considered an unsteady component. On the contrary, and as often noted by travelers, Eastern cultures frequently demonstrate a particular ta
en
Abstract: Islamic colored glass windows (qamarīyāt) have long been disregarded by scholarship despite their popularity with nineteenth-century travelers. Their vibrant light and bright colors have sparked the enthusiasm of artists, architects, and collectors who depict
en
Abstract: Oriental influences present in Polish culture since the Middle Ages and incarnated by the idea of “sarmatisme” were re-evaluated or outright rejected by the young modernist generation. In fact, at the turn of the nineteenth and twentieth century the tradition
en
Abstract: Between 1884 and 1887, Antoni Gaudí built two rather modest constructions for his patron, Eusebi Güell: a stable for the horses and a porterhouse for his country house in Les Corts. In these constructions, he makes an important step in relation to his previou
en
Abstract: This article has no intention to deconstruct the now classical Saidian idea that Western Orientalism was a global system of misrepresentation and control of non-Western cultures, particularly in the nineteenth century, when the colonial expansion spread over
en
Abstract: In 1910, Wassily Kandinsky attended the Munich exhibition Meisterwerke muhammedanischer Kunst and subsequently wrote a review of it for the Russian literary journal Apollon. His review, which almost exclusively discussed the Persian paintings on display, prov
en
Abstract: One of the most important Latvian artists of the early twentieth century, Jāzeps Grosvalds (1891-1920), was interested in the “Oriental” world since his adolescence. His first real meeting with the imagined Oriental atmosphere took place in 1913, when he trav
en
|
|
||
|---|---|---|
|
|
||
| {{criterio.prioridadCriterio}}. {{criterio.observaciones}} |  |
|
| {{criterio.prioridadCriterio}}. {{criterio.observaciones}} | |
|
| {{criterio.prioridadCriterio}}. {{criterio.observaciones}} | |
|
| {{criterio.prioridadCriterio}}. {{criterio.observaciones}} | |
|
| {{criterio.prioridadCriterio}}. {{criterio.observaciones}} | |
|