40,218 research outputs found
Maria and Julian Martinez Black-on-black Ceramic Bowl
No full textCeramic black-on-black bowl made by Maria and Julian Martinez (San Ildefonso) with geometric designs on the interior. Dimensions: 12 1/4 inches diameter. In the collection of Will Channing when photographed in August 1990
Data for the thesis "Ideologías del Contacto Linguístico en la Ciudad de Oaxaca, México"
No full textAudios of the interviews and photographs made for the case study as reported in the PhD thesis, "Ideologías del Contacto Linguístico en la Ciudad de Oaxaca, México" by Maria del Carmen Ramirez Julian, awarded by the University of Southampton in 2021.</span
Julian and Maria Martinez
No full textPhotograph of Julian and Maria Martinez shown working with their potter
Steinberg, Maria (RG 720, Folder 215)
No full textSteinberg, Maria describes the Judenrat in Busko, 5 pgs.Digital ImageDigital finding aid available
Sapienza in Albania. A cent’anni dalla prima visita nel paese di Luigi Maria Ugolini
No full textLa mostra per pannelli “Sapienza in Albania a cent'anni dalla prima visita di Luigi Maria Ugolini in Albania” nasce con l’intento di condividere con studenti e colleghi della Sapienza e non solo un viaggio iniziato recentemente, quello delle attività della Missione Archeologica congiunta italo-albanese nel sito di Çuka e Ajtoit, il ‘Monte dell’Aquila’, una collina appuntita che si trova alle estreme propaggini meridionali del territorio albanese, a ridosso del confine con la Grecia. La spinta per attivare questo nuovo canale comunicativo, che affianca i più tradizionali strumenti della comunicazione scientifica fatti di convegni e pubblicazioni, è data
dall’acquisizione nel febbraio 2024 di un piccolo fondo fotografico appartenuto all’archeologo italiano Luigi Maria Ugolini, lo scavatore di Phoinike, Butrinto e anche Çuka e Ajtoit, tre centri importanti della regione più settentrionale dell’Epiro antico, la Caonia, tutt’oggi
oggetto di interesse scientifico da parte di studiosi italiani.
Il 2024 è anche il centenario della prima visita in Albania di questo archeologo italiano, visita che anticipa le campagne di scavo degli anni successivi. La mostra si è avvalsa del supporto finanziario di Wikimedia Italia, che ha reso possibile la completa digitalizzazione del fondo e la sua pubblicazione online.
La mostra vuole dunque offrire un breve racconto della lunga diacronia del sito fortificato di Çuka e Ajtoit, dal periodo più antico e fino ad arrivare ai giorni nostri, con una particolare attenzione all attività di Luigi Maria Ugolini e su quelle più recenti e sistematiche della Sapienza Università di Roma in collaborazione con l’Istituto Archeologico di Tirana, con il supporto del Ministero degli Affari Esteri e della Cooperazione Internazionale della Repubblica Italiana e il sostegno dell’Ambasciata della Repubblica di Albania a Roma
Filming Maria and Julian, San Ildefonso Pueblo [title added by SRCA staff]
No full textMan filming Julian and Maria; Shooting movies of Julian and Maria; No. 12,741--San Ildefonso Indian Pueblo, New Mexico. While Maria and Julian are famous for their black pottery, they make occasionally the light, highly decorated pottery such as the one seen left of Julian. Here the photographer is getting a closeup of Julia
San Ildefonso potters Maria Martinez and Julian Martinez
No full textSan Ildefonso potters Maria Martinez and Julian Martine
Maria and Julian Martinez, San Ildefonso Pueblo, New Mexico
No full textPhotograph of Maria and Julian Martinez from San Ildefonso Pueblo, New Mexic
Les yeux de la mémoire: the paintings of Maria Helena Vieira da Silva 1930-1946
No full textElectronic version excludes images for which permission has not been granted by the rights holderThis thesis examines the figurative work of Portuguese-born artist Maria Helena Vieira da Silva (1908-1992) completed between 1930 and 1946, in the cities of Paris, Lisbon and Rio de Janeiro.
This thesis divests Vieira’s work of the persistent formalist framework from within which her artistic production has thus far been examined. Unlike any previous study, it explores the artist’s paintings through specific themes, subjects and forms of expression. By uncovering these narrative premises, we are able to re-assess the overall significance and contribution of Vieira’s pre-war work to her post-war oeuvre. Moreover, the interpretative framework that develops from this account re-draws Vieira’s position within the modernist canon; contrary to prevalently held views, her work ceases to be autonomous from its cultural field. The historical awareness embedded in the artist’s choice of subjects and themes captures the significance of the moment in history in which these paintings were completed. Yet, a contextual examination of Vieira's work in relation to the major streams of thought of the twentieth century reflects its elusive aesthetic nature.
Each chapter examines specific themes and subjects. The first three chapters explore Vieira’s use of memory and the imagination through the expression of the child-like and the naïve, as ways to escape the mimesis of traditional painting. The introduction of these images alters the third person narrative quality of her work by bringing the artist’s perceptions to the forefront of her artistic production. The following three chapters explore Vieira’s subjective spatial quality, either through the use of linear formations of space, memory as projected on to urban landscapes, or simply by using her own image, in its numerous forms, as a spatial signifier.
Moreover, in identifying Vieira’s choice of themes and forms of expression, this study observes the cross-roads of creativity that modernism inspired, disclosing the richness and plurality of sources involved in the production of painting, including literature, print-making and film
Maria and Julian, San Ildefonso Pueblo [title added by SRCA staff]
No full textAnglo girl wathcing Maria and Julian make pottery; No. 12,740--San Ildefonso Indian Pueblo, New Mexico. While Maria and Julian are famous for their black pottery, they have, on occasion, made the light highly decorated [pots] such as the one seen left of Julian. The pots in the background are being dried preparatory to painting
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