Juozas Zikaras: remarkos

Author(s): Skirmantė Smilingytė-Žeimienė / Language(s): Lithuanian Issue: 1/2019

After celebration of the 100th anniversary of the Republic of Lithuania and turning back to the field of reflection of Lithuanian art, one can enjoy mature publications by art historians and the exposure of various stages and aspects of art life. However, one gap is noticeable: the creative heritage of individual artists is too little publicised and investigated. The article aims to activate the scientific dialogue on the prospects of research into activities of sculptor Juozas Zikaras (1881–1944), the Lithuanian art “signatory” and the main creator of visual-artistic signs of the young Lithuanian State. This is why the fragments of his biography so far unknown are raised. For example, in the summer of 1912, J. Zikaras created decorations for the performance “Duke of Pilėnai”; in 1923, he was ill for a long time and visited Italy; and in 1940, when he was nearly sixty, he entered the Riflemen’s Union witnessing the impending threat of the Soviet Union to his country. Most importantly, remarks are presented about the most notable catalogue about artist Juozas Zikaras up to the present time (prepared in 2009 by the National M. K. Čiurlionis Museum as the main custodian of his creations, authors Miglė Banytė and Vaiva Laukaitienė). The list of sculptural works is completed, and the attributes, dates and history of some works are updated. An attempt is made to identify prominent individuals of the pre-war era in the sculptural portraits created by J. Zikaras: undoubtedly – Colonel Stepas Rusteika, supposedly – Jonas Bielinis, Jonas Yčas, Povilas Žadeikis or Petras Klimas. After all, an extensive gallery of sculptural images is not just a series of realised artistic orders but also an ideological expression of the sculptor’s position – the society should know and recognise its characters. The newly attributed works and the re¬vised dates established in the historiography allow us to say: we need a closer look at the artistic inheritance of the sculptor and to check the facts that became axioms. A more in-depth study of J. Zikaras’ creation and the spreading of art image and cultural relations during the past century in general would benefit from the summary of data about the circulation of author’s works, replicas and the change of owners of his works. On the other hand, in order to open the artistic creation as a whole, it is necessary to supplement the catalogue of his works with the surviving ones (there are sculptures in Lithuania that are not included in the catalogue, and the situation with works that are taken abroad is not known at all) as well as works considered lost.

Ajaloolase kunst: märkmeid viiendalt Euroopa arhitektuuriajaloo võrgustiku (EAHN) kohtumiselt Tallinnas

Author(s): Reinhold Martin / Language(s): Estonian Issue: 01+02/2019

Mul on suur au astuda teie ette Tallinnas, luhikese jalutuskaigu kaugusel (New Yorgi standardite jargi) Tallinna Reaalkoolist, mille mu isa Reinhold Martin lopetas 1942. aastal. Paratamatult peegeldab suur osa, millest ma plaanin raakida, seda transatlantilist perspektiivi: kuigi minu vaatepunkt jaab kindlalt New Yorki, siis selle isiklik ja ajalooline koondumispunkt paikneb siin Tallinnas ning koondub sundmuste ja ideede umber, mis on sundinud 20. sajandi keskel.

Importanța tabloului „Sf. Sebastian” (după Tițian), din Pinacoteca Brukenthal

Author(s): Daniela Dâmboiu / Language(s): Romanian Issue: 26/2019

“St. Sebastian” painting in the Brukenthal European Art Gallery in Sibiu (inv. 1202) proves to reproduce the first version of the martyrdom of “St. Sebastian”, painted by Titian in 1520 (version considered lost since the end of the 17th. century). Since ca 1520, there are still preserved a few preparatory drawings for the final panel depicting “St. Sebastian”, part of the Polyptych of Resurrection (also known as “Averoldi Altar”, after its commander’s name). The altar was intended to be placed in the Basilica church of Santi Nazzaro e Celso in Brescia, and was dated and signed by Titian in 1522. There are obvious concordances, and some differences between the first version of “St. Sebastian” painting – documentary described –, and his representation on the final panel of the altar in Brescia, items that we analyze in the current study in relation to the painting of “St. Sebastian” from Sibiu.

„Ar putea fi artistul pe care îl așteptăm de 800 de ani“. Karl Ziegler (1866-1945 ), un artist uitat

Author(s): Gudrun-Liane Ittu / Language(s): Romanian Issue: 21/2014

Karl Ziegler belonged to the group of Transylvanian artists who, by the end of the 19th century, studied abroad and contributed to over bridge the gap between local and European art. While all his colleagues attended the Drawing School in Budapest and the Royal Bavarian Art Academy, Ziegler, very appreciated by the Lutheran Bishop of Transylvania and the painter Georg Bleibtreu went to Berlin. In the Prussian capital city, the budding artist got acquainted with Historicism and Neoclassicism. From 1897 he became a portrait painter in great demand, while in 1904 he was appointed professor at the Karl Friedrich Museum in Posen/Poznan, where he was active until the end of WWI. In 1921 he was appointed professor at the Art Academy of Königsberg/Kaliningrad, a city he lived until his violent death. As long as members of his family were alive in Transylvania, the artist visited often his place of birth and contributed paintings to local exhibitions. Afterwards he fell into oblivion.

Kronika życia i twórczości Jana Dormana (1912–1986)

Author(s): Ewa Tomaszewska,Marzenna Wiśniewska / Language(s): Polish Issue: 3-4/2019

Jan Dorman (b. Dębowa Góra, now Sosnowiec, 1912–d. Będzin, 1986) was a teacher, director, stage designer, author of texts for theatre, founder of the Experimental Child’s Theatre (ETD) in Sosnowiec (1945–1951) and The Children of Zagłębie’s Theatre (TDZ) in Będzin, which has been named after him (1951–1977), lecturer at the Faculty of Puppetry in Wrocław, Branch of the State Academic School of Theatre (PWST) in Krakow, now Stanisław Wyspiański Academy of Theatre Arts (1978–1986), promoter of culture in Będzin. His theatre practice situated itself between children’s theatre, young spectator’s theatre, puppet theatre, avant-garde art theatre and experiments close to the happening. Dorman’s performances were presented at many festivals internationally; the work of TDZ that he directed represented Poland at the International Exhibition of Stage Design in Amiens, France (1969). Dorman wrote and adapted texts for theatre, composed and selected music, designed the sets (along with his son, Jacek), initiated the “Herody” review of folk productions, maintained extensive contacts with Polish and foreign theatre communities, contributed regularly to theatre  magazines (including Scena, Teatr Lalek, Teatr), and he published his book Children Playing at Theatre. Throughout his life, Dorman recorded his practice through meticulously produced archival documentation.

W antycznej pracowni Jana Dormana

O kulawym bogu Hefajstosie

Author(s): Justyna Biernat / Language(s): Polish Issue: 3-4/2019

The paper is an analysis of Jan Dorman’s theatre practice in the context of the classical tradition. It examines the archival collections of The Theatre Institute documenting the collaboration of Jan Dorman with Anna Świrszczyńska on the staging of O kulawym bogu Hefajstosie (“The Lame God Hephaestus”), Świrszczyńska’s radio play. The extant  correspondence between the creators of the production and the director’s copies permit us to explore and analyse the ways in which classical antiquity inspired Dorman’s work. Although Dorman never adapted any ancient Greek text to the stage, his practice indicates a strong presence of the classical tradition, in particular the Greek comedy, in his mode of theatre.

Szczęśliwy książę Jana Dormana jako autoarchiwum

Author(s): Magdalena Rewerenda / Language(s): Polish Issue: 3-4/2019

The paper proposes to study the documentation of Jan Dorman’s production based on Oscar Wilde’s Happy Prince as a model for Jan Dorman’s thinking about a connection and a feedback loop between theatre and archive. The production forms the basis for a more detailed examination of Dorman’s multi-layered interest in his own archive as well as the ways in which memories of his art and private life can be preserved. Using the findings developed in the area of archival turn and hauntology, the paper elaborates on the most important spheres of Dorman’s intentional self-archiving: his frantic collecting and cataloguing, the habit of constructing a cultural repository for himself and his co-workers, confabulating and self-mythologising, recycling of objects, characters and motifs to be used again in subsequent productions. In the resulting vision of Dorman’s archive, it appears to be a deliberately constructed performative space rather than merely a collection of material traces of his professional and private life.

Művészet, történet, Kelet-Európából

Author(s): Attila Horányi / Language(s): Hungarian Issue: 3-4/2019

Beáta Hock – Anu Allas (eds.): Globalizing East European Art Histories. Past and Present, Routledge, New York – London, 2018. 220 oldal, ₤ 120. (Routledge Research in Art History) Sasvári Edit – Hornyik Sándor – Turai Hedvig (szerk.): A kettős beszéden innen és túl. Művészet Magyarországon 1956–1980. Vince Kiadó, Budapest, 385 oldal, 12 000 Ft

Simetria – concept în atenția ştiinţei secolului al XX-lea

Author(s): Eufrosina Otlăcan / Language(s): Romanian Issue: 6/2017

In introduction it is presented a short history of the symmetry, concept used by different sciences. Symmetry is associated with asymmetry, its opposite concept; the alternative symmetry/asymmetry gives birth to dynamic processes which reign over the natural phenomena and social life. Generally the symmetry means the regularity, proportionality, harmony between parts of a whole. In biology symmetry means order of parts of an animal or a plant; in chemistry the symmetry is the fundamental property of the atoms in molecules or in crystals; in physics the symmetry is the concept of equilibrium, illustrated by fundamental laws; in nature symmetry is the fundamental concept of beauty, it corresponds to the equilibrium, order, being considered as a divine principle. In social relations and into humanities the symmetry expresses reciprocity, empathy, dialog, respect, justice. The paper enumerates some scientific fields which use the concepts of symmetry and asymmetry, with theoretical and practical importance. These domains are: biomedical informatics, genetics, neurology, psychology, military theory, crystallography, linguistics. The necessity of alternation symmetry/asymmetry is proved in quantum mechanics and the role of this alternation was made evident by subatomic physics.

The Image and the Cult: The Icon of Joyful Lady of Bač

Author(s): Nikola Piperski / Language(s): English Issue: 1/2020

This paper focuses on the development of the cult of the late 17th century icon of the Virgin with the Child, known as Joyful Lady of Bač, from its origins to the present day. Painted in the manner of late Byzantine art, and preserved in the Franciscan monastery of the Assumption of the Blessed Virgin in Bač, this Italo-Cretan icon was and still is highly venerated by local Slavic population of both Catholic and Orthodox denominations. At one point this icon also started to be venerated as the icon of Our Lady of Gradovrh, miraculous icon from the Franciscan monastery in Gradovrh near Tuzla in Bosnia. Through this case study, the paper aims at highlighting the fact that in the areas, where during many centuries population of both Catholic and Orthodox denominations lived together, the ways of veneration of holy images differed little among them in both form and essence.

Lumina – în cultură, ştiinţă şi artă

Author(s): Cornelia Drașovean / Language(s): Romanian Issue: 6/2017

The XXI century’s civilization rests on deep symbolic meanings and practical applications of the light; light guides our daily existence, but at the same time shapes, physically and mentally, horizon hopes of the contemporary world.From this perspective, this paper aims to highlight the fact that „the lights of the world” are in fact „the values of the world”, that there is no clear boundary between culture, science and technology or art, that one needs the others and they all need the universe as a scene. Christian theologians claim to have always seen the light as an attribute of divinity, along with truth, love, knowledge or wisdom – attributes of divinity itself or in relation to the world.In the culture of Enlightenment called also the Age of Light is an anti-feudal, ideological and cultural movement which appeared prior to and during the revolutions of the XVII-XIX centuries. It’s aim was to create a„rational” society by spreading the the culture of „light” among the people. From a more scientific point of view, light is nothing more than an electromagnetic wave moving about 300 000 km / s.Earth’s natural lights: volcanoes, clouds, aurora borealis. Light is also an essential condition for the existence of life on earth, it is the energy source for photosynthesis, the means used by plants to feed and grow. By blending science and art, photography was obtained, stained glass and light graffiti. And when night comes, the major cities of the world dress up in light: Paris – the city of lights, New York – the city that never sleeps, Hong Kong – the city with the highest light pollution in the world.

Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music

Author(s): Ruxandra Mirea / Language(s): English Issue: 21/2020

For centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While her works are frequently performed in recitals and concerts, Carmen Petra-Basacopol is one of the most appreciated Romanian musicians also due to personality traits, which are undoubtedly reflected in her creation. The universe of sacred music has been a favourite field in her works and includes all musical genres, from chamber music to concerts. In this study I have planned to analyse musicologically three choral works with sacred orientation from the perspective of a psychological profile of the composer: Sacred songs for a capella mixed choir, op. 90; Sacred hymns for male choir, op. 112; Psalm triptych for a capella choir with female voices, op. 116. The proposed working tool for outlining the psychological profile, as well as the correlation of the studied works with the universe of sacred music is represented by the interview.

Podporządkuj się

Author(s): Joanna Guszta / Language(s): Polish Issue: 778/2020

Moje książeczki

Author(s): Joanna Guszta / Language(s): Polish Issue: 779/2020

Tonitza și pictura de la Durău

Author(s): Eugenia Antonescu / Language(s): Romanian Issue: I/1968

Acest articol prezintă pictura lui Tonitza de la Durău.

Specificul moldovenesc în opera lui Aurel Băeșu

Author(s): Eugenia Antonescu / Language(s): Romanian Issue: I/1968

Acest articol analizează specificul moldovenesc în opera lui Aurel Băeșu.

A művészet és a történelem

Author(s): Peter Burke / Language(s): Hungarian Issue: 01/2020

Le phénomène de la maternité et les sujets feminins chez Gustav Klimt

Author(s): Elena Velescu / Language(s): French Issue: 1-2/2020

In the early twentieth century, the Viennese symbolist Gustav Klimt offered us an image of feminine beauty, tormented, violent, eroticized, opposed to the classical tradition and left us some famous secular maternities, which refer to the symbolism of the cycle of life and death. His allegorical maternities, which provoked a real scandal at the time, contain much ambivalence about the sensuality of the woman, object of prejudices, despite the apparent freedom of morals that reigned in the intellectual circles. Klimt's feminist topics, which are both sensual and strangely disturbing, will emerge from the anonymity to which Viennese society at the time compels them, that is, to the three K – Kinder, Kirche, Küche (Children, Church, Kitchen) either on the divan of Freud, for those of the upper middle class who manifest hysterical symptoms, or in the salons they held, through art.

ROMANIAN ART SOCIETY - A LANDMARK OF THE AUTOCHTHONOUS AESTHETICS IN 1918

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Author(s): Cristina Gelan / Language(s): English Issue: 1/2018

On March 9, 1918, the Romanian Art Society was founded in Bucharest. This was an organization that appeared as a form of protest at the proposal of an authorized artistic force of the time, the Artistic Youth Society, addressed to the artists who were mobilized by the Great General Headquarters of the Romanian Army in Iasi to participate in the great exhibition that they organized in April 1918. Revolted by the academic-romantic-idyllic spirit, reflected in the works of the representatives of the Artistic Youth Society, out at the issues of daily life, artists such as Ştefan Dimitrescu, Camil Ressu, Nicolae Tonitza, I. Ştefănescu, Ion Theodorescu- Sion, Nicolae Dărăscu, Alexis Macedonski, Ionescu Doru, Oscar Han and Traian Cornescu wanted to create an artistic bastion that would provide them with a framework where their aspirations can be revealed and offer them the legitimacy to seek a line of expansion and deepening of the ways of expression specific to Romanian art. During the period 1918 - 1924, the Romanian Art Society became the main attraction of the ideals of the artists who were mobilized on the front of the First World War and who contributed to the realization of works of art, of a high artistic level, grounded in the surrounding reality. Thus, the Romanian art becoming in this period the carrier of a humanist message based on the promotion of national specificity, a real landmark of the aesthetics of the time.

Book Review Sanneke Huisman, Marga van Mechelen (ed.), Mind Design, Niels Schrader, Martijn de Heer (graphic designers), A Critical History of Media Art in the Netherlands. Platforms, Policies, Technologies, Jap Sam Books, 2019, 367 pp., ISBN: 978-94

Author(s): Tabea Lurk / Language(s): English Issue: 21/2020