La pintura bajo el signo del Biopic

Author(s):  
Manuel Rodríguez Vargas

When Ricciotto Canudo asserted: “We need Cinema in order to create the total art towards which all the others, since the beginning, have tended. The Seventh Art reconciles all others in this way”, everyone did not know to what extent these words would transcend. Thereby, cinema is always interested in a lot of themes, and one of them is art and artists, for this reason, it is not surprising then that a large number of painters have had a biopic, and all this had a great acceptance by the general public, because what until that moment was in the history books, could now be visualized through the big screen.However, artworks are not, in principle, too attractive material to elaborate a narrative so, it is common that biographical films about these great creators to pay attention to their mood swings, their often difficult character and the historical context in which they moved. So that, Michelangelo, Leonardo da Vinci, El Greco, Caravaggio, Vermeer, Rembrandt, Goya, Turner, Renoir, Van Gogh, Rodin, Modigliani, Dalí, Picasso, Frida Kalho or Pollock and their respective films will be studied and analyzed in this investigation. Thus, we are able to recognize and bring the talent of each of them, and the circumstances in which some of his most famous works were developed.

2016 ◽  
Vol 15 (02) ◽  
pp. C01 ◽  
Author(s):  
Joachim Allgaier

The prevalent lack of research on the interrelations between science, research and popular culture led to the organization of the first International Conference on Science and Research in Popular Culture #POPSCI2015, which took place at Alpen-Adria-Universität in Klagenfurt, Austria, from 17--18 September 2015. The aim of the conference was to bring together not only science communication researchers with an interest in popular culture, but also other scholars, scientists and researchers, artists, media professionals and members from the general public. In this issue of JCOM we present four invited commentaries which are all based on presentations at the conference.


Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon

Chapter 7 opens the third section of the book, which discusses the collecting and reception of Leonardo da Vinci in Stuart Britain. The chapter summarizes the key documentation, placing it in historical context. It focuses on the presence of two paintings of Christ, as Salvator Mundi, attributed to Leonardo da Vinci documented in the collection of King Charles I and Queen Henrietta Maria. It reviews the historical backdrop of seventeenth-century England, outlining the key documentation of the two paintings, and signals the central problems: how can we distinguish between these two paintings, and can they be identified? The chapter discusses the sale of the royal art collection, 1649–53, and its documentation, and introduces the individuals through whose hands the two paintings passed.


2021 ◽  
Vol 12 ◽  
pp. 319
Author(s):  
Luiz Severo Bem Junior ◽  
Nilson Batista Lemos ◽  
Luís Felipe Gonçalves de Lima ◽  
Artêmio José Araruna Dias ◽  
Otávio da Cunha Ferreira Neto ◽  
...  

This article reports the evolution and consolidation of the knowledge of neuroanatomy through the analysis of its history. Thus, we propose to describe in a historical review to summarize the main theories and concepts that emerged throughout brain anatomy history and understand how the socio-historical context can reflect on the nature of scientific knowledge. Therefore, among the diverse scientists, anatomists, doctors, and philosophers who were part of this history, there was a strong influence of the studies of Claudius Galen (AD 129–210), Leonardo da Vinci (1452– 1519), Andreas Vesalius (1514–1564), Franciscus Sylvius (1614–1672), Luigi Rolando (1773–1831), Pierre Paul Broca (1824–1880), Carl Wernicke (1848–1905), Korbinian Brodmann (1868–1918), Wilder Penfield (1891–1976), Mahmut Gazi Yasargil (1925), and Albert Loren Rhoton Jr. (1932–2016) on the fundamentals of neuroanatomy.


Author(s):  
J. A. Nowell ◽  
J. Pangborn ◽  
W. S. Tyler

Leonardo da Vinci in the 16th century, used injection replica techniques to study internal surfaces of the cerebral ventricles. Developments in replicating media have made it possible for modern morphologists to examine injection replicas of lung and kidney with the scanning electron microscope (SEM). Deeply concave surfaces and interrelationships to tubular structures are difficult to examine with the SEM. Injection replicas convert concavities to convexities and tubes to rods, overcoming these difficulties.Batson's plastic was injected into the renal artery of a horse kidney. Latex was injected into the pulmonary artery and cementex in the trachea of a cat. Following polymerization the tissues were removed by digestion in concentrated HCl. Slices of dog kidney were aldehyde fixed by immersion. Rat lung was aldehyde fixed by perfusion via the trachea at 30 cm H2O. Pieces of tissue 10 x 10 x 2 mm were critical point dried using CO2. Selected areas of replicas and tissues were coated with silver and gold and examined with the SEM.


1910 ◽  
Vol 69 (1782supp) ◽  
pp. 138-140
Author(s):  
Edward P. Buffet
Keyword(s):  
Da Vinci ◽  

Sign in / Sign up

Export Citation Format

Share Document