Selected recent Exhibition Catalogues

1978 ◽  
Vol 3 (3) ◽  
pp. 35-38
Author(s):  
Beth Houghton
Keyword(s):  
19Th Century ◽  
Black And White ◽  
200Th Anniversary ◽  
Archival Documentation ◽  
Dutch History ◽  
Plaster Casts ◽  
History Paintings

An exhibition of ‘forgotten’ 19th century Dutch history paintings titled Het Vaderlansch Gevoel: vergeten negentiende-eeuwse schilderijen over onze geschiedenis, was shown at the RIJKSMUSEUM, AMSTERDAM (24 March – 25 June 1978). The substantial 302p. catalogue which accompanied it carries illustrations of all 134 exhibits (all b/w), plus notes and a bibliography for each work, brief biographies of the artists (many of them lesser known), and introductory essays.An exhibition organized as part of the celebrations of the 200th anniversary of Bartolini’s birth in 1977, titled Lorenzo Bartolini: mostra delle attività di tutela, was shown at the PALAZZO PRETORIO, PRATO (February – May 1978). The 303p. catalogue, published by Centro Di, has sections on the gallery of plaster casts, archival documentation and the drawings of Bartolini, plus black and white illustrations of sculptures and drawings.

Kontrast und Wissen

2009 ◽  
Vol 54 (1) ◽  
pp. 69-102
Author(s):  
Robin Rehm
Keyword(s):  
19Th Century ◽  
Edmund Husserl ◽  
Specific Knowledge ◽  
Max Scheler ◽  
Black And White ◽  
Black Circle ◽  
Black Cross ◽  
Definition Of ◽  
And Function ◽  
The 19Th Century

Kasimir Malewitschs suprematistische Hauptwerke ›Schwarzes Quadrat‹, ›Schwarzer Kreis‹ und ›Schwarzes Kreuz‹ von 1915 setzen sich aus schwarzen Formen auf weißem Grund zusammen. Der Typus des Schwarzweißbildes weist überraschende Parallelen zu den bildlichen Wahrnehmungsinstrumenten auf, die vom ausgehenden 18. bis Anfang des 20. Jahrhunderts in den Experimenten der Farbenlehre, physiologischen Optik und Psychologie verwendet worden sind. Die vorliegende Studie untersucht diese Parallelen in drei Schritten: Zunächst erfolgt eine allgemeine Charakterisierung des Schwarzweißbildes mit Hilfe des Kontrastbegriffs von Edmund Husserl. Des weiteren wird die Entstehung und Funktion des schwarzweißen Kontrastbildes in den Wissenschaften des 19. Jahrhunderts typologisch herausgearbeitet. Unter Berücksichtigung des Wissensbegriffs von Max Scheler wird abschließend die Spezifik des Wissens eruiert, das die Schwarzweißbilder sowohl in der Malerei Malewitschs als auch in den genannten Wissenschaften generieren. Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.

Ten voordeele van …

2020 ◽  
Vol 4 (3) ◽  
pp. 234-258
Author(s):  
Marita Mathijsen
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
Content Type ◽  
Flood Disasters ◽  
Dutch History

Abstract In favor of … Charity publications in the nineteenth century In Dutch history, charity publications were almost entirely a 19th century phenomenon. In this article I provide an overview of this phenomenon. The first publication that I have been able to trace is from 1784, the most recent one from 1930. However there are some predecessors of charity publications. The few studies that have been published about charity literature emphasize their national message. Occasions for charity publications were many and varied. Even so, flood disasters prevail. The most varied genres could be employed for the purpose: theater plays, poetry, sermons, essays, etc. However, poems are in the majority, and it is they in the first place that become the object of criticism. From mid-century onward critical comments become ever fiercer, in particular concerning their quantity and their countless platitudes. What makes the phenomenon typically nineteenth century is the shared mentality behind it. To help out in the case of disasters or poverty was not yet a public matter but rested with privately undertaken initiatives.

“The black men has wives and Sweet harts [and third person plural -s] Jest like the white men”: Evidence for verbal -s from written documents on 19th-century African American speech

1993 ◽  
Vol 5 (3) ◽  
pp. 335-357 ◽  
Author(s):  
Michael Montgomery ◽  
Janet M. Fuller ◽  
Sharon DeMarse
Keyword(s):  
African American ◽  
African Americans ◽  
19Th Century ◽  
Language Contact ◽  
White Men ◽  
Antebellum America ◽  
Irish Immigrants ◽  
Black And White ◽  
Vernacular English ◽  
Third Person

ABSTRACTThe analysis of letters written by 19th-century African Americans shows constraints on verbal -s marking which parallel those found in the writing of Scotch-Irish immigrants in the same time period and region, specifically a subject type constraint and a proximity to subject constraint. This correlation is highly suggestive for the study of the development of African American Vernacular English (AAVE). This study finds no support for a basis from a creole or from Standard English for AAVE in verbal concord and concludes that some, perhaps many, African Americans used varieties of English with little or no creole influence. Earlier studies have assumed that standard dialects of English constituted the superstrate in colonial and antebellum America; this analysis makes it clear that we must examine the features of the local varieties, black and white, before making any claims about the influences of language contact on a given variety. Further, the consistent patterns of inflections found in this study show that written documents, in particular letters written by semiliterate African Americans, are a good source for further linguistic study of 19th-century language.

Southeastern institutional change and biological variation: evidence from the 19th century Tennessee State Prison

2010 ◽  
Vol 7 (3) ◽  
pp. 455-471 ◽  
Author(s):  
SCOTT ALAN CARSON
Keyword(s):  
19Th Century ◽  
Mississippi River ◽  
Living Standards ◽  
Established Method ◽  
State Prison ◽  
Black And White ◽  
White Males ◽  
Close Proximity ◽  
The 19Th Century ◽  
Height Data

Abstract:The use of height data to measure living standards is now a well-established method in economics, and a number of core findings in the literature are widely agreed upon. There are still some populations, places, and times, however, for which anthropometric evidence remains thin. This paper introduces a new dataset from the Tennessee State Prison to track the heights of comparable black and white males born between 1820 and 1906. Shorter statures were associated with close proximity to the Mississippi River, and the largest share of the white–black stature gap was associated with nativity. Black and white statures declined throughout the 19th century, and farmers were taller than non-farmers.

BLACK AND WHITE BODY MASS INDEX VALUES IN NINETEENTH CENTURY DEVELOPING PHILADELPHIA COUNTY

2011 ◽  
Vol 44 (3) ◽  
pp. 273-288 ◽  
Author(s):  
SCOTT ALAN CARSON ◽  
PAUL E. HODGES
Keyword(s):  
Nineteenth Century ◽  
Body Mass Index ◽  
19Th Century ◽  
Body Mass ◽  
Black And White ◽  
The Us

SummaryThis paper demonstrates that although modern BMIs in the US have increased, 19th century BMIs in Philadelphia were lower than elsewhere within Pennsylvania, indicating that urbanization and agricultural commercialization were associated with lower BMIs. After controlling for stature, blacks consistently had greater BMI values than mulattos and whites; therefore, there is no evidence of a 19th century mulatto BMI advantage in the industrializing North. Farmers' BMIs were consistently heavier than those of non-farmers.

RACIAL DIFFERENCES IN BODY MASS INDICES FOR MALE CONVICTS IN NINETEENTH CENTURY PENNSYLVANIA

2009 ◽  
Vol 41 (2) ◽  
pp. 231-248 ◽  
Author(s):  
SCOTT ALAN CARSON
Keyword(s):  
Nineteenth Century ◽  
Racial Differences ◽  
19Th Century ◽  
Body Mass ◽  
Living Standards ◽  
Normal Range ◽  
Black And White ◽  
Middle Atlantic ◽  
Urbanized Areas ◽  
Biological Living Standards

SummaryThis paper demonstrates that although modern BMIs have increased, 19th century Middle-Atlantic black and white BMIs were in the normal range; neither underweight nor obese individuals were common. Farmers’ BMIs were consistently heavier than non-farmers. Philadelphia residents’ BMIs were lower than elsewhere within Pennsylvania, indicating that urbanization and agricultural commercialization were associated with current biological living standards in urbanized areas.

scholarly journals Analysis of Pigments and Damages for the 19th Century White-Robed Water-Moon Avalokitesvara Painting in Gongju Magoksa Temple, Korea

2021 ◽  
Author(s):  
Hye Ri Yang ◽  
Chan Hee Lee ◽  
Jeongeun Yi
Keyword(s):  
19Th Century ◽  
Wood Decay ◽  
White Lead ◽  
Rear Wall ◽  
Decay Fungi ◽  
Black And White ◽  
Wood Decay Fungi ◽  
The 19Th Century ◽  
Modern Era

Abstract The White-Robed Water-Moon Avalokiteshvara painting displayed on the rear wall of Daegwangbojeon (main hall) in Magoksa temple, is one of the representative Buddhist paintings in the late 19th century of Korea, and a valuable resource for understanding the coloring techniques and characteristics of Buddhist paintings in terms of expression and description in landscape painting. In this painting, the contours and colored surface remain undamaged, but blistering and exfoliation appear on some pigment layers. Furthermore, the partial decomposition of wooden materials due to wood-decay fungi and insect damage were found on the rear wall requiring proper treatment for long-term conservation. As the results of chromaticity and P-XRF analysis regarding the color pigment layer of the painting, the pigments were classified into ten types. The results suggest that the colors other than blue, green, yellow, red, black, and white were prepared by mixing two or more pigments. The types of pigments according to colors, were determined as traditional pigments with azurite; emerald green or clinoatacamite; massicot; minium or hematite; Chinese ink; and kaolin, white lead, and gypsum, respectively. Violet and pink colors were assumed to have been prepared by mixing white with blue and red. In most of these pigments, small amounts of synthetic compositions from the modern era were detected at many points.

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