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| el dibujo y su historia: Historia del dibujo animado español José María Candel, 1993 |
| el dibujo y su historia: El arte de la biografía François Dosse, 2007 |
| el dibujo y su historia: El gran libro del dibujo José María Parramón, 1993 |
| el dibujo y su historia: Historia del arte en todos los tiempos y pveblos Karl Woermann, 1923 |
| el dibujo y su historia: Historia del arte José Pijoán, 1916 |
| el dibujo y su historia: Historia mínima. La cultura mexicana en el siglo XX Carlos Monsiváis, 2010-02-09 En esta obra póstuma, Carlos Monsiváis, con su estilo y erudición únicos, recorre un siglo de la vida cultural de México, si bien, como él mismo confiesa, ésta es una tarea inacabable a la que además se suma la brevedad de la obra, que le obliga a cerrar su crónica en la década de 1980, dejando fuera los movimientos y creadores de los dos últimos decenios del siglo XX. Su recorrido parte de la época del modernismo y pasa por todas las manifestaciones culturales que se desarrollan a lo largo de las siguientes décadas, como la narrativa de la Revolución, el muralismo, la cultura en los años veinte, los Contemporáneos, la poesía de la generación del 50 hasta llegar al año de la ruptura que representa 1968 y las manifestaciones culturales que de él se desprenden. |
| el dibujo y su historia: Britannica Enciclopedia Moderna Encyclopaedia Britannica, Inc, 2011-06-01 The Britannica Enciclopedia Moderna covers all fields of knowledge, including arts, geography, philosophy, science, sports, and much more. Users will enjoy a quick reference of 24,000 entries and 2.5 million words. More then 4,800 images, graphs, and tables further enlighten students and clarify subject matter. The simple A-Z organization and clear descriptions will appeal to both Spanish speakers and students of Spanish. |
| el dibujo y su historia: Anales de instruccion primaria Uruguay. Direccion General de Instruccion Publica, 1918 |
| el dibujo y su historia: Historia del arte en todos los tiempos y pveblos: Periodo del renacimiento (1400-1550) Karl Woermann, 1924 |
| el dibujo y su historia: Modern Graphics Communication Frederick Ernest Giesecke, 2004 This completely rewritten adaptation of Giesecke utilizes an abundance of hands-on activities and clear step-by-step descriptions to teach users freehand sketching and visualization skills for engineering graphics. The eighth edition features reorganized, consolidated coverage of Solid Modeling, new drawing problems, and fully proofed drawings. Other chapter topics include design and graphic communication, introduction to cad and solid modeling, freehand sketching and lettering techniques, geometric construction and modeling basics, multi-view sketching and projection, pictorial sketching, sectional views, dimensioning, and tolerancing, For individuals interested in the fields of technical drawing and engineering graphics. |
| el dibujo y su historia: Algunos libros de texto, de consulta, y de cultura general y profesional Antero Urioste, 1921 |
| el dibujo y su historia: Bibliography of the History of Medicine , 1993 |
| el dibujo y su historia: Biblioteca de alquiler Muõz (Bonifacio) hnos., Ecuador, 1918 |
| el dibujo y su historia: Architectural Draughtsmanship Enrique Castaño Perea, Ernesto Echeverria Valiente, 2017-09-25 This is the proceedings of the XVI International Congress of Graphic Design in Architecture, EGA 2016, held in Alcalá de Henares, Spain, in June 2016. About 200 professionals and researchers from 18 different countries attended the Congress. This book will be of interest to researchers in the field of architecture and Engineering. Topics discussed are Innovations in Architecture, graphic design and architecture, history and heritage among others. |
| el dibujo y su historia: Revista de derecho, historia y letras , 1900 |
| el dibujo y su historia: Boletín de la Academia Nacional de Historia antes Sociedad Ecuatoriana de Estudios Históricos Americanos Academia Nacional de Historia (Ecuador), 1923 |
| el dibujo y su historia: Miscelánea histórica]. , 1883 |
| el dibujo y su historia: Bulletin - Bureau of Education United States. Bureau of Education, 1918 |
| el dibujo y su historia: Bulletin United States. Office of Education, 1918 |
| el dibujo y su historia: Statistics of Land-grant Colleges and Universities United States. Office of Education, 1918 |
| el dibujo y su historia: Actas del VII Congreso Internacional de “Sinestesia: Ciencia y Arte”. El Reto físico/digital //VII International Congress “Synaesthesia: Science and Art” * The digital / physical challenge *. 26-29 October 2022 [live+digital] Granada & Alcalà la Real / Spain. + Actividades Paralelas 2022. 51 autores investigadores, Dina Riccò, Julia Simner , Timothy B Layden, Sean A Day, Joerg Jewanski, James Warnentom, 2022-11-01 Libro de Actas del VII Congreso Internacional de Sinestesia, Ciencia y Arte celebrado en Granada y Alcalá la Real, Jaén ( España) Sedes: Facultad de Bellas Artes Alonso Cano, Universidad de Granada, España. Convento de Capuchino, Alcalá la Real (Jaén), España. Teatro Martínez Montañés, Alcalá la Real (Jaén), España. Versión digital, Septiembre de 2022. Primera Edición/First edition: Septiembre 2022 E-book ISBN: 978-84-948665-6-2 Comité editorial: Mª José de Córdoba Serrano; Dina Riccò; Timothy B. Layden. Diseño imagen, trípticos de promoción y cartel: Federico Barquero Mesa. ©Editorial: Fundación Internacional Artecittà. Granada. 2022. C/Doctor Medina Olmos nº 44. 18015-Granada, España. info@artecitta.es http://www.artecitta.es Nota aclaratoria: E-book interactivo. Formato PDF. Todo el material recogido en este libro de Actas está protegido por copyright, ley internacional, y no debe ser reproducido, distribuido, ni publicado sin el permiso expreso solicitado previamente a sus autores//All materials contained on this Book are protected by International copyright laws and cannot be reproduced, distributed, transmitted, displayed, published or broadcasted without the prior written permission of the publisher. Los textos se presentan como han sido enviados por los congresistas/investigadores, respetando si han querido publicar sus textos completos o sólo los resúmenes. Comité Organizador/Organization Committee: Comité de dirección: Mª José de Córdoba. F.I.A.C. y UGR, Granada, España.; Dina Riccò, Politecnico di Milano y F.I.A.C., Milán, Italia. Coordinadores FIAC: Julia López de la Torre y Timothy B Layden. Coordinadores Internacionales: Sean A Day, (IASAS y FIAC); Anton Sidoroff Dorso (Delegación FIAC Rusia); Ninghui Xiong (Delegación FIAC, (China); Timothy B Layden (Delegación FIAC, Inglaterra); Gaby Cardoso (Argentina). Comité Científico//scientific committee: Sean A Day, Joerg Jewanski, Anton Sidoroff Dorso, Danko Nikolic, Dina Riccò, Mª José de Córdoba, Helena Melero. |
| el dibujo y su historia: Parte especial: El arte. Instituciones económicas Eduardo Pérez Pujol, 1896 |
| el dibujo y su historia: Subsuelos Florencia Qualina, 2020-09-14 El Premio de Ensayo Crítico invitaba a pensar problemas que recorrieran el arte argentino durante los últimos años, también sobre un corpus de obras o exhibiciones realizadas por artistas argentinos en los últimos quince años; estas eran unas proposiciones abiertas que no podría haber emprendido sin meditar antes sobre otras variables que exceden al arte e implican algo más grande. Algo que indecorosamente podría ser llamado mundo. Quería pensar a partir de aquella noche que la escatología cibernética había bautizado Y2K, es decir desde el inicio del siglo. También, percibiendo como André Breton que la sensibilidad jamás cambia radicalmente, otra cuestión disparó este ensayo: ¿cómo se filtra la modernidad en el arte contemporáneo? Una modernidad entendida como un sistema heterotópico, integrado por manifiestos, vanguardias y retaguardias, técnicas, voluntades subversivas. |
| el dibujo y su historia: The Cristos yacentes of Gregorio Fern?ez Ilenia Col?n Mendoza, 2017-07-05 Analyzing seventeenth-century images of the dead Christ produced by Gregorio Fern?ez, author Ilenia Col?endoza investigates how and why the artist and his patrons manipulated these images in connection with the religious literature of the time to produce striking images that moved the faithful to devotion. In so doing, she contributes new findings to the topic of Spanish sacred sculpture. The author re-examines these sculptures not only in the context of a larger sculptural group but also as independent sculptures that were intended as powerful aids to contemplation and devotion as was prescribed by the writings of San Juan de la Cruz and Luis de Granada. Combining study of the sculptural works with that of liturgical sources, she reveals the connection between the written word and the sculpted work of art. Through this interdisciplinary approach, the author links Fern?ez's sculptural program with the strategic objectives of major patrons of the period, such as the Duke of Lerma and King Philip III of Spain, both fervent defenders of the Catholic faith. |
| el dibujo y su historia: Academies and Schools of Art in Latin America Oscar E. Vázquez, 2020-05-28 This edited volume’s chief aim is to bring together, in an English-language source, the principal histories and narratives of some of the most significant academies and national schools of art in South America, Mexico, and the Caribbean, from the late 18th to the early 20th centuries. The book highlights not only issues shared by Latin American academies of art but also those that differentiate them from their European counterparts. Authors examine issues including statutes, the influence of workshops and guilds, the importance of patronage, discourses of race and ethnicity in visual pedagogy, and European models versus the quest for national schools. It also offers first-time English translations of many foundational documents from several significant academies and schools. This book will be of interest to scholars in art history, Latin American and Hispanic studies, and modern visual cultures. |
| el dibujo y su historia: Documentos relativos al reclamo del Banco de Costa-Rica , 1885 |
| el dibujo y su historia: Caminos 1 Niobe O'Connor, Alan Wesson, 2002 The Caminos Spanish course places emphasis on cultural awareness of Spain and Spanish-speaking countries, providing pupils with an informed insight into the lives and concerns of their peers overseas. The communicative approach of the series means that pupils are encouraged from the start to express themselves, their feelings and opinions in the target language, acquiring all the language skills they need for effective communication. |
| el dibujo y su historia: Remedios Varo Remedios Varo, Ricardo Ovalle, 2008 |
| el dibujo y su historia: On Art and Painting , 2016-07-15 The only volume on the work of Vicente Carducho in English Analysis of the Dialogues on Painting by international experts Contributors are art historians or hispanists, offering a multi-disciplinary approach |
| el dibujo y su historia: 2017 Mariana Aguirre, Rosa Sarabia, Renée M. Silverman, Ricardo Vasconcelos, 2017-04-24 Futurism Studies in its canonical form has followed in the steps of Marinetti's concept of Futurisme mondial, according to which Futurism had its centre in Italy and a large number of satellites around Europe and the rest of the globe. Consequently, authors of textbook histories of Futurism focus their attention on Italy, add a chapter or two on Russia and dedicate next to no attention to developments in other parts of the world. Futurism Studies tends to sees in Marinetti's movement the font and mother of all subsequent avant-gardes and deprecates the non-European variants as mere 'derivatives'. Vol. 7 of the International Yearbook of Futurism Studies will focus on one of these regions outside Europe and demonstrate that the heuristic model of centre – periphery is faulty and misleading, as it ignores the originality and inventiveness of art and literature in Latin America. Futurist tendencies in both Spanish and Portuguese-speaking countries may have been, in part, 'influenced' by Italian Futurism, but they certainly did no 'derive' from it. The shift towards modernity took place in Latin America more or less in parallel to the economic progress made in the underdeveloped countries of Europe. Italy and Russia have often been described as having originated Futurism because of their backwardness compared to the industrial powerhouses England, Germany and France. According to this narrative, Spain and Portugal occupied a position of semi-periphery. They had channelled dominant cultural discourses from the centre nations into the colonies. However, with the rise of modernity and the emergence of independence movements, cultural discourses in the colonies undertook a major shift. The revolt of the European avant-garde against academic art found much sympathy amongst Latin American artists, as they were engaged in a similar battle against the canonical discourses of colonial rule. One can therefore detect many parallels between the European and Latin American avant-garde movements. This includes the varieties of Futurism, to which Yearbook 2017 will be dedicated. In Europe, the avant-garde had a complex relationship to tradition, especially its 'primitivist' varieties. In Latin America, the avant-garde also sought to uncover and incorporate alternative, i.e. indigenous traditions. The result was a hybrid form of art and literature that showed many parallels to the European avant-garde, but also had other sources of inspiration. Given the large variety of indigenous cultures on the American continent, it was only natural that many heterogeneous mixtures of Futurism emerged there. Yearbook 2017 explores this plurality of Futurisms and the cultural traditions that influenced them. Contributions focus on the intertextual character of Latin American Futurisms, interpret works of literature and fine arts within their local setting, consider modes of production and consumption within each culture as well as the forms of interaction with other Latin American and European centres. 14 essays locate Futurism within the complex network of cultural exchange, unravel the Futurist contribution to the complex interrelations between local and the global cultures in Latin America and reveal the dynamic dialogue as well as the multiple forms of cross-fertilization that existed amongst them. |
| el dibujo y su historia: History of Construction Cultures Volume 1 João Mascarenhas-Mateus, Ana Paula Pires, 2021-08-01 History of Construction Cultures Volume 1 contains papers presented at the 7ICCH – Seventh International Congress on Construction History, held at the Lisbon School of Architecture, Portugal, from 12 to 16 July, 2021. The conference has been organized by the Lisbon School of Architecture (FAUL), NOVA School of Social Sciences and Humanities, the Portuguese Society for Construction History Studies and the University of the Azores. The contributions cover the wide interdisciplinary spectrum of Construction History and consist on the most recent advances in theory and practical case studies analysis, following themes such as: - epistemological issues; - building actors; - building materials; - building machines, tools and equipment; - construction processes; - building services and techniques ; -structural theory and analysis ; - political, social and economic aspects; - knowledge transfer and cultural translation of construction cultures. Furthermore, papers presented at thematic sessions aim at covering important problematics, historical periods and different regions of the globe, opening new directions for Construction History research. We are what we build and how we build; thus, the study of Construction History is now more than ever at the centre of current debates as to the shape of a sustainable future for humankind. Therefore, History of Construction Cultures is a critical and indispensable work to expand our understanding of the ways in which everyday building activities have been perceived and experienced in different cultures, from ancient times to our century and all over the world. |
| el dibujo y su historia: "The Religious Patronage of the Duke of Lerma, 1598?621 " LisaA. Banner, 2017-07-05 Introducing fresh archival evidence, author Lisa Banner here demonstrates how Francisco G? de Sandoval y Rojas, first Duke of Lerma, served as a vital link in Habsburg architectural patronage. She traces Lerma's trajectory as, beginning with the ancient royal city of Valladolid, he embarked on a career of renovating or building religious foundations in various towns and cities around seventeenth-century Spain. The unintended consequence of his architectural patronage and involvement was to proliferate the distinctive royal architectural style developed under Philip II, which connected the foundations of Lerma indelibly with the traditions of noble patronage in Habsburg Spain. |
| el dibujo y su historia: Recommended Books in Spanish for Children and Young Adults Isabel Schon, 2008-12-23 Following the same format as the highly praised 2000-2004 edition, Recommended Books in Spanish for Children and Young Adults, 2004-2008 is an outstanding reference tool that includes annotated entries for more than 1,200 books in Spanish published between 2004 and 2008 in the U.S., Spain, Mexico, Venezuela, and Argentina. Each entry includes an extensive critical annotation, title in Spanish as well as English, tentative grade level, and approximate price. The books have been selected because of their quality of art and writing, presentation of material and appeal to the intended audience, and support the informational, educational, recreational and personal needs of Spanish speakers from preschool through the twelfth grade. Whether used for the development and support of an existing library collection or for the creation of a new library serving Spanish-speaking young readers, the books in this volume are of value to Spanish-speaking children and young adults (or those who wish to learn Spanish). This volume is arranged in four sections: Reference, Nonfiction (Philosophy, Psychology, Religion, Social Science, Folklore, Language, Science, Technology, Health and Medicine, The Arts, Recreation and Sports, Literature, Poetry, Geography, History, and Biography), Publishers' Series, and Fiction (Easy Books, General Fiction and Graphic Novels). This volume also includes an appendix of merchants who sell books in Spanish, as well as author, title, and subject indexes. |
| el dibujo y su historia: Sculpture Collections in Early Modern Spain Kelley Helmstutler Di Dio, Rosario Coppel, 2016-04-01 In the past decade, there has been a surge of Anglophone scholarship regarding Spain in the sixteenth and seventeenth centuries, which has led to a reframing of the discourses around Spanish culture of this period. Despite this new interest-in which painting, in particular, has been singled out for treatment-a comprehensive study of sculpture collections and the status of sculpture in Spain has yet to be produced. Sculpture Collections in Early Modern Spain is the first book to assess the phenomenon of sculpture collecting and in doing so, it alters the previously held notion that Spanish society placed little value in this art form. Di Dio and Coppel reveal that, due to the problems and expense of their transport from Italy, sculptures were in fact status symbols in the culture. Thus they were an important component of the collections formed by the royal family, cultivated noble collectors, humanists, and artists who had pretensions of high status. This book is especially useful to specialists for its discussion of the typologies of collections and objects, and of the mechanics of state gifts, transport, and collection display in this period. An appendix presents extensive archival documentation, most of which has never before been published. The authors have uncovered hundreds of new documents about sculpture in Spain; and new documentary evidence allows them to propose several new identifications and attributions. Firmly grounded in extensive archival research, Sculpture Collections in Early Modern Spain redefines the socio-political and art historical importance of sculpture in early modern Spain. Most importantly, it entirely transforms our knowledge regarding the presence of sculpture in a wide range of Spanish collections of the period, which until now has been erroneously characterized as close to non-existent. |
| el dibujo y su historia: Arquitectura , 1917 |
| el dibujo y su historia: The Mobility of Modernism Harper Montgomery, 2017-07-04 Arvey Foundation Book Award, Association for Latin American Art, 2018 Many Latin American artists and critics in the 1920s drew on the values of modernism to question the cultural authority of Europe. Modernism gave them a tool for coping with the mobility of their circumstances, as well as the inspiration for works that questioned the very concepts of the artist and the artwork and opened the realm of art to untrained and self-taught artists, artisans, and women. Writing about the modernist works in newspapers and magazines, critics provided a new vocabulary with which to interpret and assign value to the expanding sets of abstracted forms produced by these artists, whose lives were shaped by mobility. The Mobility of Modernism examines modernist artworks and criticism that circulated among a network of cities, including Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps the dialogues and relationships among critics who published in avant-gardist magazines such as Amauta and Revista de Avance and artists such as Carlos Mérida, Xul Solar, and Emilio Pettoruti, among others, who championed esoteric forms of abstraction. She makes a convincing case that, for these artists and critics, modernism became an anticolonial stance which raised issues that are still vital today—the tensions between the local and the global, the ability of artists to speak for blighted or unincorporated people, and, above all, how advanced art and its champions can enact a politics of opposition. |
| el dibujo y su historia: Historia universal Cesare Cantú, 1875 |
| el dibujo y su historia: Memorias de la Real Academia de la Historia Real Academia de la Historia (Spain), 1910 Contains monographs varying in length, preceded, in v. 1,4- by Noticia histórica de la academia. |
| el dibujo y su historia: Bibliography of Art and Architecture in the Islamic World (2 vols.) Susan Sinclair, 2012-04-03 Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies. |
| el dibujo y su historia: Bulletin , 1918 |
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El is the grey-bearded ancient one, full of wisdom, malku ('King'), ʾab šnm ('Father of years'), [33] ʾEl gibbōr ('El the warrior'). [34] He is also called lṭpn ʾil d pʾid ('the Gracious One, the Benevolent …
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