CHOREOGRAPHING KANDINSKY´S ´SPIRITUAL´ IN SERGEI DIAGHILEV´S <<BALLETS RUSSES>>

Author(s): Maria-Roxana Bischin / Language(s): English Issue: 1/2019

The purpose of this article is to demonstrate that Wassily Kandinsky’sgeometrical paintings were inspired by the ballet world, and by the body movements of theballerina. Moreover, painting and ballet communicate with each other. And geometry hashelped that. Then, the idea of this article starts with the necessity in relating Kandinsky′sSpiritual theory on non-materiality exposed in Über das Geistige in der Kunst with SergeiDiaghilev′s Ballets Russes brought on Parisian scene between 1909s and 1929s. BalletsRusses is the term which names all the ballet representations thought and designed bySergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Startingwith 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with variousdrawing techniques. Were favourable years in which Kandinsky′s evolution from simpledrawings to sophisticated Compositions got up. We are witnessing a cultural increasement.So, the ballet, the music, the theatre and the painting can not be separated any moreor, at least, or, at least, cannot be thought of separately as systems of aesthetic theory.The aesthetic evolution from ballet and theatre had influenced the evolution in painting.What we will try to show as novelty in our investigation, is the kinetic and spiritualrelation between Kandinsky′s Compositions and some representations from Ballets Russesby Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want toshow how the lines designed by Wassily Kandinsky are describing ballet’s movements.The methods used in our research have consisted in the inter-artistic comparison betweenWassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev.We also brought a philosophical and personal perspective on both worlds.

Bedeutendes Kunstwerk aus Hermannstadt ziert Wiener Kirche

Author(s): Udo W. Acker / Language(s): German Issue: _/2016

Als der „ledige Tonsetzer“ Ludwig van Beethoven am 29. März 1827, drei Tage nach seinem Tod, in der Dreifaltigkeitskirche der Minoriten in Wien, der sogenannten Alserkirche (Abb. 1) in der Josefstadt, eingesegnet wurde, trug man seinen Sarg an einem sehr großen Kruzifix vorbei, das in der dritten Nische auf der rechten Seite hängt. Es kam 1708 in diese erst 1704 fertiggestellte Kirche, die damals noch zu einem Kloster der Trinitarier, auch Weiß-Spanier genannte Kongregation, gehörte. Es befand sich bei seiner Aufstellung an prominenter Stelle im Chor und nahm so „den ersten Platz in der Verehrung ein“.

Brukenthal in Wien und seine Beziehung zur siebenbürgischen Hofkanzlei

Author(s): Erwin Horst Schuller / Language(s): German Issue: _/2017

Der Siebenbürger Sachse Samuel von Brukenthal verdankte seinen beruflichen Aufstieg der Regentin des Habsburgerreiches Maria Theresia, die seine besonderen Fähigkeiten früh erkannte, ihn zu ihrem persönlichen Berater in siebenbürgischen Angelegenheiten erwählte und seinen Aufstieg förderte. Brukenthals Laufbahn begann als Beamter in der Stadtverwaltung von Hermannstadt. Nach der Übernahme in den Landesdienst wurde er zunächst Gubernialsekretär, später Provinzialkanzler, Gubernialrat und Leiter der Siebenbürgischen Hofkanzlei in Wien. Schließlich ernannte ihn Maria Theresia zum Gouverneur und betraute ihn damit mit dem höchsten Amt im Großfürstentum Siebenbürgen.

The Balkan Connection: Mykola Sadovsky, Bulgaria and the Early Days of the Ukrainian Theatre

Author(s): Hanna Veselovska / Language(s): English Issue: 3/2019

The article discusses how the events of the Russian-Turkish war of 1877-1878 influenced the development of the Ukrainian professional theatre. The focus is placed on the persona of Mykola Sadovsky, the prominent Ukrainian actor, director and producer, who fought in the war and took part in the famous battle for the Shipka Mountain. Sadovsky’s war experience effectively predetermined his career path, steering it towards the arts and theatre in particular, and ultimately allowed him and other enthusiasts to help build a proper Ukrainian professional theatre on the territory of the-then Russian Empire.

Entre Pierre I-er et Etienne le Grand

Author(s): Tereza Sinigalia / Language(s): French Issue: 2/2019

Archaeological investigations and the restoration in progress of mural paintings confirm that the founder of the existing St. Nicolas Church in Rădăuți was Peter the Ist Mușat. It was the first prince of Moldavia here. His image could be seen in the Votive painting in the nave offering the model of the church to Christ, by intercession of St. Nicolas. He is followed by Bogdan, Stephen’s the Great last son, Stephen itself, his elder son Alexander and the princess Maria Voichita, Stephan’s third wife. Stephen the Great was the donor of the mural ensemble around 1490. The iconographic program has some important peculiarities: The Passion of Christ is missing and the Military Saints, too; a great number of medallions with Bishops is painted all around the first register of painting and a large suite pf Monks is to be found in the lower register. In the same register, on the eastern wall, an Imperial Deesis, with the Virgin carrying a royal crown, is completed by the figures of Saints Nicolas and John Chrysostomos. At the level of the vaults the most important compositions are the Glorifying of Christ and a Glorying of the Virgin and an unusual for this space, an Ecumenical Council.

Tomasz Ratajczak, Mistrz Benedykt - królewski architekt Zygmunta I, Universitas, Kraków 2011 (= Ars Vetus et Nova, t. 34), ss. 374, il. 224

Author(s): Marcin Fabiański / Language(s): Polish Issue: 12-13/2013

MİMESİS KURAMI BAĞLAMINDA SANAT EĞİTİMİ UYGULAMALARI

Author(s): Necmettin Karabulut,Fatih Daşdemir / Language(s): Turkish Issue: 45/2020

The theory of Mimesis, also meaning emulation, imitation and reflection, is an approach which expressed the thoughts and ideas of Plato and Aristotle about art that has made its presence felt up until the 19th century. In a world with the context of Mimesis theory, the environment is communicated through as the exact way it is, while at the same time the world of senses is reflection is also measured. During the historical process, Plato claimed that the reflection of the world of senses is done through the artists reflecting the reflections, while at the same time his student Aristotle was interested in to what measure can the artists can reflect the truth of nature. In this situation, Aristotle thinks that the artist acts as mirror of sorts, one that is as successful as its ability to reflect the objects in nature. According to Aristotle's Mimesis art theory, the meaning that is given to an artist from the establishments that educate artists is only meaningful when the artist stays loyal to the original image of the objects and reflects them the realest way possible. The education of art in the context of Mimesis theory can be observed through the kinds of Giotto and Masaccio towards the end of the Middle Ages with the Master-Apprentice method in their workshops, becoming role-models to many of their students. In this work, there has been an examination of upcoming artists and students of arts about their place in the context of Mimesis theory in a historical process from the 5th century BC to 19th century AD. The reflection of the Mimesis theory on the applications of art education with the differentiating stylistic changes and innovations through time from workshops to academies, from academies to schools with a modern principle on art is explained.

GUSTAVE COURBET’NİN “KARŞILAŞMA-GÜNAYDIN BAY COURBET” ADLI ESERİNDEKİ GÖSTERGELERLE DOĞU KÜLTÜRÜNDEKİ EL ÖPME OLGULARINDAKİ GÖSTERGELERİN KARŞILAŞTIRILMASI

Author(s): Necmettin Karabulut,Fatih Daşdemir / Language(s): Turkish Issue: 45/2020

It is observed that artistic creations have started before the ages of history, whilst refreshing themselves throughout the ages and eras via cultural and societal innovations and not compromising from their core principles at the same. Art, which embraces change and alteration, has made its prevailing presence known through a society’s lifestyle, geography, time and faith at all times. Shaping of art through these concepts has laid the groundwork for acquiring an identity for art which could be used as a common language between different cultures. It is possible that the act greeting, a cultural action, can happen with different rituals in many countries and cultures. The meanings of Greeting and hand-kissing rituals in different cultures has . The focus of this paper is on the meaning of the rituals of greetings and hand-kissing and how they are touted in different cultures in a semiotic aspect. A comparison is showcased between greetings in the French artist, who was raised in a western culture, Gustave Courbet’s “Greeting-Good Moring Mr. Courbet” and the hand-kissing the eastern culture, which is a showcase of respect and love. In this work, the concepts of Kissing, Indicators, Semiotics and Culture’s historical process is emphasized through the greetings ritual in Gustave Courbet’s “Meeting” and the culture of Hand Kissing in Eastern Culture. Certain images are added to emphasize and support this paper. This paper lines up with similar works that has come before it in terms of content, at the same time, it shall be a guide to studies that are going to come after it.

Principii de restaurare clasice și contemporane. Rămâne reversibilitatea o regulă de aur în teoria contemporană a restaurării?

Author(s): Anca Mihaela Gavril / Language(s): Romanian Issue: 8/2019

Reversibility has been one of the main principles of the ethics and practice of restoration, a declared ideal which has never been achieved in practice. It was argued from both scientific and restoration practice perspectives that it is impossible to achieve a complete reversibility. In this context new alternative notions were formulated, such as “removability” or “retreatability”. It was also proposed to discuss about this principle in terms of degrees of reversibility. By formulating and defining new notions such as “technical reversibility”, “visual reversibility” and “reversibility of the aesthetic effect”, the concept gained new theoretical dimensions.The analysis of “reversibility” was proposed to be undertaken for each phase of the restoration process. In the case of cleaning treatments for example, the issue was discussed in terms of reversibility versus controllability and selectivity. Also, problematizing the consolidation treatments, it was suggested the replacement of the term ”reversibility” with the notion “re-treatability” which implies two essential concepts: durability and physico-chemical stability.Some authors consider that the principle of reversibility is still a very important norm, while others discuss the replacement of the term with more appropriate ones. Piero Baglioni has launched the idea that durability and physico-chemical compatibility could be considered a new “golden rule” of the contemporary theory of conservation, while Christina Margariti firmly states that the reversibility concept has already been replaced with the notion of re-treatability.

O revizitare a perioadei „doctrinare” a restaurării monumentelor istorice

Author(s): Lucian-Cristian Ratoiu / Language(s): Romanian Issue: 8/2019

Through this paper I intend to bring forward the importance that the 19th century had in the field of restoration, as a turning point from the long tradition of repair and reconstruction, to the present scientific discipline (conservation science), moment which also involved the establishment of the first modern institutions for the inventory and preservation of the built cultural heritage. The „doctrinal” period of the conservation practice long regarded as a dispute between two theories impossible to reconcile is analyzed from the perspective of the formation of the two main personalities: Viollet-le-Duc and John Ruskin. By „revisiting” their concepts I want to describe and to highlight the complex relationship that is established between: the modern concept of historical monument, the process of restoration as a scientific field and the socio-cultural context, specific to Great Britain and France. Another objective of this paper is to reconnect the contemporary restorer with the fundamental texts of the field, in order to better understand the evolution of mandatory practices such as: the ethics and the documentation of the interventions.

Norme, principii şi coduri etice în conservare-restaurare

Author(s): Mihai Anton Ioan Lupu,Ileana Crețu / Language(s): Romanian Issue: 8/2019

In the last 60 years, the scientific conservation and restoration has been based on certain principles. These decisive guidelines are helping those who perform the activities and also limit the impact of the materials and operations that should be executed without damaging the objects or the monuments. The simplified and vague utterance of the new norms has influenced the new generations who do not know nor respect the old principles, especially the first two, thus triggering a possible degradation of the heritage.

Intervențiile în timp și efectele asupra picturii murale de la Biserica „Sf. Trei Ierahi” a Mănăstirii Berislăvești - Vâlcea

Author(s): Gorea Oana Cristina,Dumitru Gorea / Language(s): Romanian Issue: 8/2019

Berislăvești Monastery, a less known architectural assembly among the numerous monasteries from Vâlcea county, is now under a continuous restoration and consolidation process. Working on the mural paintings offered the restorers the possibility to analyze the previous interventions and draw conclusions regarding the repercussions on the mural paintings and offer new information for analysis to both art historians and restorers. The main endeavor of this intervention wich had a major impact on the aesthetics of the “Three hierarchs” church is the recovery of the forgotten original mural decoration that was lost under multiple overpainting or layers of whitewash and the process of valorisation by finding a solution to keep the two historical paintings layers found here, which differ in style and history.

Studiu metodologic de restaurare a unei icoane de secol XVIII din Țara Românească

Author(s): Diana Mirea,Dana Postolache / Language(s): Romanian Issue: 8/2019

A methodological restoration study of an 18th century icon - Țara RomâneascăThis article is meant to draw the attention on the conservation-restoration process of an imperial icon in a post-Brâncoveneasc style representing Madonna and Child. The icon presented many degradations: of the support – frailties and areas with matter collapse; discontinuities in the ground coat conservation in relief; degradations of the colour layer; uneven varnish and overpaint. All these demanded a differentiated cleaning and specific interventions. The extended lacunae over the faces of some of the characters raised some issues regarding the aesthetic presentation. The natural aging processes of the matter have been accelerated under unsteady microclimate conditions.

APOLINER I AVANGARDA

Author(s): Ješa Denegri / Language(s): Serbian Issue: 266/1981

Nalazeći povod u obeležavanju stogodišnjice rođenja Gijoma Apolinera (Rim, 1880-Pariz, 1918), Galerija moderne umetnosti u Rimu je krajem prošle i početkom ove godine organizovala izložbu Apollinaire e l’avanguardia, na kojoj su bila prikazana dela Pikasa, Braka, Ležea, Grisa, Deloneja, Marisa, Derena, Gleza, Mecenžea, Arhipenka, Erbena, Pikabije, Dišana, Bočonija, Bale, Karaa, Seveririija, Sofičija, Rosula i drugih, dakle, pretežno protagonista kubizma i futurizma, dva pokreta s kojima je Apoliner bio prisno vezan kao kritičar.

POSTMODERNA (I) OPERA

Author(s): Ivana Seletković / Language(s): Bosnian Issue: 12/2019

In this article I discusse about contemporary relation with the opera, its connection with film and present a descriptive analysis of the rock opera Tommy. The Post-Modern age is characterized by the deconstruction of big essentialist narratives, substantial characters, the ideal of reaching the absolute and totality. The momentum of mass culture sucked in and redirected the perception of the opera in the same way as they made art as sort of realization of trash culture in general. The original intention of the opera as a musical drama with a strong emphasis on the Baroque mythical overemphasis, castrate roles and an appeal to artificiality in order to bring it into a relation with the wordly (profane) is nowadays reduced to the possibility to “consume” it quickly, with earphones, as we watch operas on TV. It was a choice between sticking to the traditional application values in theaters defined as elitist and isolated places of entertainment and the one hand and on the other the attempts to appeal to audiences outside these places using modern methods of presentation. Hence ideas for operas (and music) in the open, making films from great operas such as La Boheme or Carmen or foundation of radio and TV companies specializing in such art (Mezzo, Arte etc.).

AKTIVIZAM AVANGARDE I KIČ KAO OPREDMEĆENI SVET

Author(s): Sreten Gagić / Language(s): Serbian Issue: 251/1980

Proučavajući protivrečni karakter avangardne umetnosti i njenu kontroverznu psihologiju, mnogi teoretičari su zapazili izvesne konstante i određene stalne karakteristike avangardnog pokreta u celini.

Monaldijeva klasifikacija glazbe u osmom poglavlju djela Irena, iliti o ljepoti (1599.)

Author(s): Monika Jurić Janjik / Language(s): Croatian Issue: 02/154/2019

The work Irene, overo della bellezza (Venice, 1599), written by the Renaissance philosopher and poet Michele Monaldi (1540–1592) from Dubrovnik, is considered to be the first aesthetic treatise that originates from Croatia. In that dialogue, Monaldi devoted a whole chapter to music and presented his version of the general theory of it. Monaldi’s thoughts on beauty and music originate primarily from the philosophy of Plato and Aristotle. He was mainly theoretically oriented, thus his ideas on music are primarily based on Plato’s philosophical thoughts, and only partially on Aristotle’s. In the greater part of this chapter, Monaldi does not consider the changes that occurred in the field of music in the second half of the 16th century and on the turn of the 17th century. Thus, his ideas on music and art, in general, can be interpreted almost as a purely theoretical model, without any indications of its possible use in practice. Monaldi’s Platonic orientation is also evident in the form of his work, which is the dialogue form modelled after similar dialogues written by Plato. In some aspects of his discussion on music, though not numerous, Monaldi still relies on Aristotle, especially when it comes to functions of music. In his chapter devoted to music (Dialogo ottavo, fol. 135–153) Monaldi rather thoroughly discusses several aspects of music: the divisions of music into different branches, the intervals, the meaning in music, the functions of music, the modes and the instruments, the relationship between music and politics, the relationship between music and other “objects of hearing”, as well as criteria necessary to achieve “proper music”. Given the fact that Monaldi treated quite a large number of music issues, his work Irene, overo della bellezza is considered to be the most valuable contribution to the reflection on music from Croatia in the Renaissance period. This paper presents Monaldi’s understanding of music, based on the example of his classifications of it into different categories.

Visual survey of Everydayness

Author(s): Jiřina Hankeová / Language(s): English Issue: 1/2020

Jiřina Hankeová (* 1948) was born in Kladno. She has a wide range in her work, from drawing and painting, to poetry and lyrics, to photography. She took up photography during her secondary school studies, but eventually she found her creative expression mainly in drawing and painting. She already started to exhibit her paintings and drawings in the ’70s. In the ’80s, she was strongly influenced by her friendship with the Trasa group, especially by the work of Olbram Zoubek and Válová sisters. In the ’90s, her activity expanded to lyrics that she wrote for her daughter Lucie’s music. She published several books of poetry: What to Do with It?, Chlorophyll People, Acrylic Poetry, Other Views and Leaving the City Behind One’s Back. At the turn of the century, she returned to photography again without leaving her previous creative activities. She has exhibited her photographs at more than 40 solo exhibitions both in the Czech Republic and abroad. She called her first photo series in which she plays with lights and shadows “It Started Quite Innocently” (2004) with the subtitle “Light & Shape”. One of her most significant photo series “An Awkward Attempt at Self-Therapy” (2005-2006) originated inside an intimate space. The photo series “Cyclic Landscapes” (2010-2012) which resonates with the optically vibrant softness of reality is in contrast to the trivial snippets of the urban environment in the photo series “Banalities” (since 2010). She fulfills her feelings and visions in extensive photo series of staged images, such as “Same as Different” (since 2015) where she uses her imagination to transform everyday objects, “Lost & Found” (since 2016) in which she tells stories of found things, or “A Little Morbid Images” (since 2018) where she designs constructions from animal fragments.

IZABRANI PRIMJERI GRAFIKA IZ ZBIRKI GALERIJE STARIH I NOVIH MAJSTORA GRADSKOG MUZEJA VARAŽDIN

Author(s): Elizabeta Igrec,Daniela Ratkajec / Language(s): Croatian Issue: 30/2019

The successful cooperation of the Varaždin City Museum and the Department of Paper and Leather of the Croatian Conservation Institute has resulted in a large number of restored prints rescued from further decay. Each of them can now be presented and shown as deserved. From year to year, approximately ten prints are restored annually according to a systematic plan. This is an extremely valuable and important cooperation for the Varaždin City Museum. The paper (Part 1) deals with a brief overview of the Collection of paintings, sculptures, prints and drawings the significant part of which are the prints. The presentation and the description of the most important selected prints that make up the basis of the highly valuable prints in the Museum are described. Within the years of a successful cooperation between the Department for Paper and Leather and the Varaždin City Museum a large number of significant artworks on paper have been restored. Two Japanese woodblock prints from the 18th century are the highlights. The author of these woodblocks is the Japanese master Eishi Hosoda (1756-1829).

KONZERVATORSKO-RESTAURATORSKI RADOVI NA PORTRETU MARIJE TEREZIJE IZ GRADSKOG MUZEJA VARAŽDIN

Author(s): Maša Maria Štrok / Language(s): Croatian Issue: 30/2019

This article is about the conservation and restoration carried out on a portrait of Maria Theresa from the 18th century attributed to the workshop of painter Martin van Meytens. The painting is an oil on canvas and portrays Maria Theresa, Hapsburg sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands and Parma. By marriage, she was Duchess of Lorraine, Grand Duchess of Tuscany and Holy Roman Empress. During her rule (1740 - 1780) she introduced a number of reforms in foreign and domestic policies. This painting, painted during the first few years of her rule, shows her whole posture in celebratory brocade robe, as she stands next to a richly carved table with a solemnly decorated cushion and two crowns of the Austrian archduke. The dimensions of the painting are 203 cm x 140 cm (height/width). The painting had undergone two previous restorations, in 1857 and 1993. Based on documentation, an interesting detail was added during the 1993 restoration: in the lower right corner of the painting, in the overpaint layer there is a visible signature Meytensen pinxit 1857- even though the painter died in 1770. It is therefore assumed that he was signed during the first restoration of the painting in 1857, led by painter Mayerwieser. During the last restoration in 2014, it was concluded that this signature is not correct, the correct one is Mayerwieser renoviert 1857. Because of the fragility of painted layer on this part of the canvas, the signature was cleaned only superficially by thinning of the yellowy varnish with a mild solution. Because of the incomplete and unclear documentation following the 1993 restoration, it was very hard to determinate all of the zones with layers of overpaint and validate the decision to remove them completely or only partially. After the probing it was concluded that the green color from the robe and turquoise color from the right sleeve were both removed during previous restorations. The dark background with visible architecture and drapery was also partially removed. Additional probes, including IC and UV scans, stratigraphy of the painted layer, removal probing of tarnished varnish with impurities and overpaint, were conducted to determine the zones of preserved varnish and overpaint as well as the quality of fill composition in the previous intervention.