„Poezja dworsko-rycerska nie odkryła miłości, ale obdarzyła ją nowym sensem.”
Społeczna historia sztuki i literatury
Arnold Hauser – węgierski historyk sztuki i socjolog, także pisarz.
„Poezja dworsko-rycerska nie odkryła miłości, ale obdarzyła ją nowym sensem.”
Społeczna historia sztuki i literatury
Społeczna historia sztuki i literatury
Źródło: Konrad Onasch, Annemarie Schneiper, Ikony. Fakty i legendy, Arkady, Warszawa 2007, s. 31.
Społeczna historia sztuki i literatury
Źródło: Tomasz Weiss, Młoda Polska, wyd. II, WSiP, Warszawa 1989, s. 17.
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome
Źródło: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 1. The Concept of the Renaissance
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter II. Ancient Oriental Urban cultures
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 5. Revolution and Art
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public
Arnold Hauser, cited in: Bihar Tribal Research Institute (1961). Bulletin of the Bihar Tribal Research Institute. Vol. 3-4, p. 144
“The art of representing the human figure in the ancient world begins and ends with ‘frontality’.”
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter I. Prehistoric Times
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter I. Prehistoric Times
Źródło: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 9. The Baroque of the Catholic Courts
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter I. Prehistoric Times
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome
Źródło: The Social History of Art, Volume IV. Naturalism, impressionism, the film age, 1999, Chapter 1. Naturalism and Impressionism
Źródło: The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999, Chapter 5. The Concept of Mannerism
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public
“The late Middle Ages not merely has a successful middle class—it is in fact a middle-class period.”
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter III. Greece and Rome
The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages
Arnold Hauser (1985). The philosophy of art history. p. 279
'Chapter 8. The Concept of Baroque
The Social History of Art', Volume II. Renaissance, Mannerism, Baroque, 1999
Źródło: The Social History of Art, Volume III. Rococo, Classicism and Romanticism, 1999, Chapter 2. The New Reading Public