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2019 | 129 | 222-241
Article title

The similarietes between Kazimierz Kotlinski and Leonardo da Vinci

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Abstracts
EN
This summary contains information about Kazimierz Kotlinski, a very famous person, who lives in Pulawy. Particularly described here his great war, artistic and literary achievements. This was done based on extracts from books, opinion about his career, own reflection on his painting. To achieve the above aim, applied a series of images painted by this artist. The main method used here is a description. This review article was made in order to show Kazimierz Kotlinski’s achievements and artistic talent, which is compared to artistic talent of Leonardo da Vinci.
Year
Volume
129
Pages
222-241
Physical description
Contributors
  • Department of History, Faculty of Sociology and History, University of Rzeszow, Al. Rejtana 16c, 35-959 Rzeszow, Poland
References
  • [1] Eugen Oberhummer. Leonardo Da Vinci and the Art of the Renaissance in Its Relations to Geography. The Geographical Journal Vol. 33, No. 5 (May, 1909), pp. 540-569. DOI: 10.2307/1777084
  • [2] M. H. Pirenne. The Scientific Basis of Leonardo da Vinci's Theory of Perspective. The British Journal for the Philosophy of Science. Vol. 3, No. 10 (Aug., 1952), pp. 169-185
  • [3] Meyer Schapiro. Leonardo and Freud: An Art-Historical Study. Journal of the History of Ideas Vol. 17, No. 2 (Apr., 1956), pp. 147-178. DOI: 10.2307/2707740
  • [4] Creed JC (1986) Leonardo da Vinci, Vitruvian Man. JAMA 256: 1541
  • [5] Michael W. Kwakkelstein. Leonardo da Vinci's Grotesque Heads and the Breaking of the Physiognomic Mould. Journal of the Warburg and Courtauld Institutes Vol. 54 (1991), pp. 127-136. DOI: 10.2307/751484
  • [6] H. Ashrafian. Leonardo da Vinci’s Vitruvian Man: a renaissance for inguinal hernias. Hernia October 2011, Volume 15, Issue 5, pp 593–594
  • [7] James Elkins. Renaissance Perspectives. Journal of the History of Ideas Vol. 53, No. 2 (Apr. - Jun., 1992), pp. 209-230. DOI: 10.2307/2709871
  • [8] Stephen J. Campbell. (2017) On Renaissance Nonmodernity. I Tatti Studies in the Italian Renaissance 20: 2, pages 261-294
  • [9] Alexander Nagel & Christopher S. Wood. Toward a New Model of Renaissance Anachronism. The Art Bulletin Volume 87, 2005 - Issue 3 Pages 403-415. https://doi.org/10.1080/00043079.2005.10786249
  • [10] Thomas McGrath. Color and the Exchange of Ideas between Patron and Artist in Renaissance Italy. The Art Bulletin Volume 82, 2000 - Issue 2 Pages 298-308
  • [11] Jeroen Stumpel. On Grounds and Backgrounds: Some Remarks about Composition in Renaissance Painting. Simiolus: Netherlands Quarterly for the History of Art Vol. 18, No. 4 (1988), pp. 219-243. DOI: 10.2307/3780701
  • [12] Thomas, Anabele, The Painters' Practice in Renaissance Tuscany (Cambridge: Cambridge University Press, 1995).
  • [13] Chambers, David, Patrons and Artists in the Italian Renaissance (London: MacMillan, 1970).
  • [14] Baxandall, Michael, Painting and Experience in Fifteenth-Century Italy (Oxford: Oxford University Press, 1988).
Document Type
article
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bwmeta1.element.psjd-aeabaa5a-0764-46f4-a5aa-eb8693512b91
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