Not exact matches
Increased recognition of the accomplishments of the Middle Ages (including the birth of engineering, social benefits
such as universities, hospitals and the beginnings of corporations and labor guilds, as well as science, (all under the Catholic Church) has
led to the label being restricted in application or avoided by serious
historians.
As a result, certain intangibles —
such as values based on our more noble human impulses — are gradually entering the scope of
leading thinkers, including
historians, social scientists, businessmen and bankers — and even economists.
Kimball brings to our attention
such paintings as Courbet's The Quarry, Sargent's The Daughters of Edward Darley Boit, Rubens» Drunken Silenus, Homer's The Gulf Stream, and others, and examines the interpretations of them offered, or rather perpetrated, by some
leading art
historians,
such as David Lubin of Wake Forest University and Albert Boime of the University of California at Los Angeles.
Some
historians argue that
lead poisoning plagued the Roman elite with diseases
such as gout and hastened the empire's fall.
A self - proclaimed «collector of souls,» Neel often painted friends and family, as well as the celebrated artists and writers of her day,
such as Andy Warhol, Frank O'Hara, and Meyer Shapiro, delving into personalities and idiosyncrasies with a rare frankness.Alice Neel: Painted Truths brings together paintings that demonstrate Neel's range and ability, along with insightful commentary from four
leading art
historians.
Guest curated by UMass Art History Assistant Professor Karen Kurczynski September 15 — November 20, 2016 Opening Reception: September 14, 6 — 8 p.m. Organized by NSU Art Museum Fort Lauderdale and guest - curated by UMass Amherst assistant professor Karen Kurczynski, a
leading scholar of Danish Cobra artist Asger Jorn (1914 — 1973), who represents a new generation of art
historians specializing in Cobra, the exhibition presents the history of Cobra through paintings, sculpture, prints, and primary documents by artists
such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant, and Corneille.
The Sourcebook includes materials on
such topics as implanted memories in mice, caves in Laos left over from the Indochina wars, new methods for listening underwater and meditations on light and darkness, plus interviews between Weerasethakul and
leading art
historians as well as texts drawn from his personal library.
By anthologizing essays, documents, and interviews by
leading critics,
historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which
such work functions.
Noting the highly simple techniques that Lalic has used in this series and other works (
such as
Lead Triptych 1987, private collection), the art
historian Nicholas de Ville has argued that «the more minimal the vocabulary an artist chooses... the more significant becomes the physical stuff of paint».
Simpson is a well known legal
historian with titles
such as «Cannibalism and the Common Law» and «
Leading Cases in the Common Law», all great reads.