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http://hdl.handle.net/10071/9854
acessibilidade
Title: Andy Warhol com Leonardo: de Monalisa a Cristo (3.ª parte)
Authors: Conde, Idalina
Keywords: Singularidade
Reconhecimento e museu imaginário em arte
Criação artística
Carisma
Poder e valores simbólicos
Ícones e obras de arte
Renascença Italiana e Arte Pop
Leonardo da Vinci, Monalisa, Anunciação, A Última Ceia
Jacopo Tintoretto, Paraíso
Andy Warhol, Details of Renaissance Paintings, The Last Supper com Christ 112 Times; Cross/Crosses, [Mount]Vesuvio
Pierre Restany
Jiri Georg Dokoupil, Doppelter Jesus, Jesus in der Dornenkrone
Andres Serrano, Piss Christ, Black Supper; Red Pope, Heaven and Hell, Klansman Great Titan of the Invisible Empire
Arte
Religião e guerras culturais
Singularity, recognition and the imaginary museum in art
Artistic creation, charisma, power and symbolic values
Icons and works of art
Italian Renaissance and Pop Art
Leonardo da Vinci, Mona Lisa, Annunciation, The Last Supper
Jacopo Tintoretto, Paradise
Andy Warhol, Details of Renaissance Paintings, the cycle The Last Supper, with Christ 112 Times, Cross/Crosses, [Mount]Vesuvio
Pierre Restany
Jiri Georg Dokoupil, Jesus in der Dornenkrone, Doppelter Jesus
Andres Serrano, Piss Christ, Black Supper, Madonna and Child, Black Supper, Red Pope, Heaven and Hell, Klansman Great Titan of the Invisible Empire
Art, religion, cultural wars
Issue Date: 2013
Publisher: CIES-IUL
Series/Report no.: CIES e-Working Paper
WP nº 167/2013
Abstract: No arco de 20-25 anos, Andy Warhol usou em diferentes momentos imagens de três obras de Leonardo da Vinci: Monalisa, Anunciação e A Última Ceia. Baseando-se nelas fez Thirty Are Better Than One, em 1963, uma versão da Anunciação na série Details of Renaissance Paintings, em 1984 (juntamente com obras de Sandro Botticelli, Piero della Francesca, Paolo Uccello), e The Last Supper, em 1986, com muitas variações, incluindo a maior, The Last Supper (Christ 112 Times) (1986). O texto reflete sobre essa trajetória procurando o sentido dos encontros de Warhol com Leonardo, entre outras obras-primas da Renascença que também incluíram (em 1985) a Madonna Sistina de Rafael Sanzio. Continua um ensaio sobre o reconhecimento em arte que envolve o museu imaginário dos artistas. A primeira parte abordou Monalisa, ícone glosado por vários artistas e um dos emblemas do trabalho de Warhol nos anos 60. A segunda parte revisitou a série Details of Renaissance Paintings, com a Anunciação de Leonardo e introduziu o ciclo sobre A Última Ceia. A terceira parte aborda esse ciclo.
At different times over almost 20-25 years, Andy Warhol used images of three works of Leonardo da Vinci: Mona Lisa, Annunciation and The Last Supper. Based in them Warhol has produced Thirty Are Better Than One, in 1963, a variation of the Annunciation in the series of prints Details of Renaissance Paintings, in 1984 (also with works from Sandro Botticelli, Piero della Francesca, Paolo Uccello), and many variations on The Last Supper, in 1986, including the major work The Last Supper (Christ 112 Times) (1986). The text follows this trajectory seeking the meaning of the encounters with Leonardo and some of Renaissance masterpieces which have also included (in 1985) the Sistine Madonna by Raphael Sanzio. It continues an ongoing essay about the recognition in art that involves the imaginary museum of the artists. The first part dealt with the case of Mona Lisa, which was approached by several artists. As an icon, it is one of the emblems of the work of Warhol in the 60s. The second part has revisited Details of Renaissance Paintings (1984), with the Annunciation and introduced the cycle about The Last Supper. The third part approaches this cycle.
Peer reviewed: Sim
URI: http://hdl.handle.net/10071/9854
ISSN: 1647-0893
Appears in Collections:CIES-WP - Working papers

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