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Restabilirea prin restaurare a programului iconografic al iconostasului de la biserica „Sfântul Gheorghe”din Mogoșoaia
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Restabilirea prin restaurare a programului iconografic al iconostasului de la biserica „Sfântul Gheorghe”din Mogoșoaia

Author(s): Marin Cotețiu / Language(s): Romanian Issue: 6/2017

This article presents some of the problems raised by the restoration of the iconostasis from St. George church from Mogosoaia, Ilfov county. I particularly refer to the aspects regarding the restoring of the iconographic program disrupted by old restoration interventions. I particularly refer to the aspects regarding the restoration of the areas where the iconographic program was disrupted by old restoration interventions. It was necessary to disassemble and reposition the sculpted friezes and icons in the appropriate order. The operations were hindered by the incorrect anchorage with nails hammered from the front of the iconostasis. The introduction presents some elements regarding the iconostasis’ artistic technique. It continues with information on the church’s history and some of the past works. Then, I am presenting the iconographic program and synthetically indicate the main coordinates of the restoration treatment applied.The article contains a few images representative for my endeavour.

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Restaurarea iconostasului Bisericii Mănăstirii Tismana (2013 – 2015). Influenţa variaţiilor parametrilor de microclimat asupra intervenţiilor de restaurare
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Restaurarea iconostasului Bisericii Mănăstirii Tismana (2013 – 2015). Influenţa variaţiilor parametrilor de microclimat asupra intervenţiilor de restaurare

Author(s): Mirela Constantin / Language(s): Romanian Issue: 6/2017

In the church of Tismana monastery the microclimate variations together with the breakdown of the improvised heating installation led to a poor conservation of the iconostasis. Between 2103 and 2015, our team coordinated by Mirela Constantin carried out complex work to reposition and secure the structure, stop the evolving degradation processes, restore the painting and the polychrome sculpture. In 2015, the head of the monastery ceased the contract unilaterally despite the execution of 70% of the work. The restoration continued until 2017 by the students of West University – Timişoara and graduated of the Faculty of Theology in Bucharest coordinated by Prof. Doina Mihăilescu Ph.D. Although the restored elements executed by our team established the reference points, the second team didn’t comply with the restoration concept and the ensemble lost its aesthetical unity. This article underlines the fact that the actual appearance of the iconostasis is not the result of our intervention and we bring forward our work from 201—2015.

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Эмоции на поверхности: Рибейра-ди-Пишкуш и роль эмоциональности в его утверждении в качестве главного мадленского комплекса наскального искусства под открытым небом региона Коа (Португалия)
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Эмоции на поверхности: Рибейра-ди-Пишкуш и роль эмоциональности в его утверждении в качестве главного мадленского комплекса наскального искусства под открытым небом региона Коа (Португалия)

Author(s): Mário Reis / Language(s): Russian Issue: 1/2021

After its dramatic appearance in 1995, with the threat of destruction by a huge dam counteracted by the successful worldwide preservation campaign, the open-air rock art in the Côa Valley region fully confirmed the high scientific expectations it raised, now established as a major complex, with a 30 000 yearlong continuous rock art sequence, starting in the Upper Palaeolithic and up to the Modern Age, passing through Late Prehistory and the Iron Age. It is the world’s largest concentration of Upper Palaeolithic open-air rock-art, definitely updating the previously established cave art paradigm within European Palaeolithic art. With 20 000 years of continuous Palaeolithic diachrony, from the Gravettian to the Late Glacial, and including the Solutrean and Magdalenian periods, the site of Ribeira de Piscos is among the most important, mainly in the Magdalenian period, where it is the largest, in dimension and number of figures. This text aims to examine some particular figures in this site that specifically display explicit and varied emotional aspects. Besides the scarcity of this trait in Palaeolithic art, it can also be argued that these figures played an important role in the establishment and evolution of this site during the Magdalenian, and that this emotional aspect may have been symbolically essential in the definition of the site and its prevalence in the region.

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Mladen Škiljan: Tragovi i sjećanja (1953. — 1980.)

Mladen Škiljan: Tragovi i sjećanja (1953. — 1980.)

Author(s): Darko Lukić / Language(s): Croatian Issue: 2/2020

The review of: MLADEN ŠKILJAN: Tragovi i sjećanja (1953. — 1980.), Izbor i oprema tekstova: Snježana Banović Zagreb: Hrvatski centar ITI, 2019, 101 str.

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Spitalul monument istoric între conservare și presiunea exigențelor funcționale
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Spitalul monument istoric între conservare și presiunea exigențelor funcționale

Author(s): Alexandra Hajnšek,Alina Marinescu,Ramona Ungureanu / Language(s): Romanian Issue: 9/2020

The sanitary problems in the 18th century Europe led to the emergence of the pavilion-type hospital, first introduced in England (1758-1765) and developed all over the world in the 19th century, as a rigor of the time regarding patients isolation in separate single-levelled pavilions settled around gardens. Romania adopted this modern type of construction, most of the hospitals built between 1875 and 1900 were made in a pavilion system. There has always been a double pressure on historic hospitals, the first regarding constant change to meet the health standards and the second regarding the survival as a historic monument by preserving the original physical components, interior, exterior or context. To what extent does the functional updating (layout modification, new wings, connected wings between pavilions, etc.) of the historical monument lead to the loss of its authenticity? What is the main premise in restoring a historic monument hospital and what are the limits for such restoration? The authors are trying to find answers to these questions by presenting a case study regarding the evolution of the military pavilion hospital ”Aristide Serfioti” in Galați (1883-1886). Keywords: military hospital – pavilion, historical monument, historical function, authenticity, compositional concept, conservative restoration / creative restoration, continuity

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Restaurarea icoanei „Înălțarea Domnului”. O restaurare bazată pe principiul minimei intervenții
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Restaurarea icoanei „Înălțarea Domnului”. O restaurare bazată pe principiul minimei intervenții

Author(s): Anca Necșoi / Language(s): Romanian Issue: 9/2020

This article is a plea for restorations based on minimal, non-invasive interventions, whenever possible. A prudent, limited action will stop the evolutionary degradation process, stabilize the object, protecting it from the inevitable shocks of large-scale operations and allowing any other interventions without the need of major de-restoration. Such an approach brings multiple benefits through reduced working time, by limiting the restorer’s exposure to toxic environment, as well as financial benefits. The selected methodology was influenced mainly by the improper technical design of the support, namely choosing a wood with knots and fibre anomalies, as well as by the conservations conditions over time with effect on the integrity of the pictorial matter. All these required an archaeological research based on the principle of minimum restoration. The lacunae of the pictorial layer were more than 50% of the painted surface. To better grasp the composition and differentiate the additions in relation to the original, it was decided to selectively fill in a number of small lacunae, choosing a differentiated integration of putties, preserved primer traces and the wear.

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Triunghi. Sculptură-arhitectură-agricultură. Un centru pentru arte și viață
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Triunghi. Sculptură-arhitectură-agricultură. Un centru pentru arte și viață

Author(s): Andrei Tache,Alexandra Mihailciuc / Language(s): Romanian Issue: 9/2020

At the Art Farm we are building together with sculptors Marian and Victoria Zidaru, the project Triangle architecture-sculpture-agriculture, a set of houses, modular art galleries, conference rooms, workshops and concerts, in a concept of cultural and human ecology. We hope to make in the area a place for people, arts and crafts, with training experiences, increasingly necessary in the landscape of contemporary life. Keywords: Triangle: architecture-sculpture-agriculture, a new rurality, transmission and permanent learning, restoration in the broadest sense, architecture as a pretext, cultural and human ecology, art farm, rural specific, eco-economy, heritage and manual labour for all, education through arts and architecture.

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STYLISTIC TECHNIQUES IN THE REPRESENTATION OF LATVIAN CHARACTER: A STUDY OF GATIS ŠĻŪKA’S CARTOONS

STYLISTIC TECHNIQUES IN THE REPRESENTATION OF LATVIAN CHARACTER: A STUDY OF GATIS ŠĻŪKA’S CARTOONS

Author(s): Elīna Veinberga / Language(s): English Issue: 1/2020

The purpose of the article is to study a variety of cartoons by the famous Latvian cartoonist Gatis Šļūka who often represents Latvia and Latvians, capturing their very character and spirit. The main objective of this study is to examine diverse stylistic patterns and their visual and verbal interaction. The frequent use of stylistic patterns implies that Latvian thinking is naturally figurative. The cartoons often mock various predicaments in different domains of life. To appreciate the complete meaning of a cartoon, it is crucial to understand the historical and social context of the cartoon, especially if it is not analysed around the moment of its creation. The most recurrent stylistic pattern that appears in nearly all analysed cartoons is metonymy, thus it can be concluded that metonymy plays the most important role in meaning construction. There are other significant stylistic techniques such as personification, allusion and pun. In most cases it is possible to state that interaction of stylistic patterns is evident in the cartoons.

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TRANSFORMATION OF MODERNISM IN SOCIALIST YUGOSLAVIA ARCHITECTURE

TRANSFORMATION OF MODERNISM IN SOCIALIST YUGOSLAVIA ARCHITECTURE

Author(s): Recep Kerkezi / Language(s): English Issue: 3/2018

The Socialist Yugoslavia regime, which was established after World War II, led to innovations in many areas, spreading the modernism that Yugoslavia inherited from the Kingdom period to many areas. It also allowed freedom of expression and opened up to Western European countries kel social, political, commercial and so on kel compared to the Soviet Union and other Eastern European countries. Provided the development of relations. These openings also led Yugoslav artists to explore various artistic movements abroad and to be inspired from abroad. In this study, it is aimed to examine the effects of the ideological background of the new regime on architecture. The effects of Tito on the transformation of the modernist movement that emerged in the Kingdom of Yugoslavia through the Tito period and the development and change of art and architecture.

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Prvi svjetski rat u kulturi sjećanja: inozemne i srpske ratne drame na repertoaru hrvatskih kazališta 1919. – 1941.

Prvi svjetski rat u kulturi sjećanja: inozemne i srpske ratne drame na repertoaru hrvatskih kazališta 1919. – 1941.

Author(s): Mislav Gabelica / Language(s): Croatian Issue: 1/2021

In this paper, the author approaches Croatian theatres as places of memory, and the foreign and Serbian war dramas performed in them as the contents of the Croatian culture of memory regarding World War I. Drawing upon the extant research on Croatian memory of World War I, based on examining the Croatian literary heritage, according to which the predominant Croatian memory was presented in Miroslav Krleža’s war cycle, the author has attempted to answer the question, how did these non-Croatian war dramas on the repertoire of Croatian theatres correspond to the stated Croatian relationship towards World War I according to their contents, frequency of performance, and public reactions to them (as seen through theatre reviews)? In this sense, the author has identified three groups of non-Croatian war dramas: British (American) and French, which were characterised by prominent pacifism; Czechoslovak, which were anti-Austrian and contained a note of Czech nationalism; and Serbian, which nurtured the Serbian victory culture, but also criticised post-war Serbian society. Analysing these dramas, the author has concluded that Serbian war dramas enjoyed the strongest ‘institutional support’, but were also the least popular with the Croatian public. Czechoslovak war dramas received the least ‘institutional support’, but were the most popular among the Croatian public. Based on this analysis, the author has concluded that the Czechoslovak dramas had the most in common with the predominant Croatian memory of World War I in the interwar period; even though they did not receive much ‘institutional support’, they were the closest to the Croatian memory of the war in the given circumstances.

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AVANGARDA ÎN UNGARIA PARTEA I: OPERE CONSTRUITE ALE LUI FARKAS
MOLNÁR ȘI CONTEXTUL ACESTORA

AVANGARDA ÎN UNGARIA PARTEA I: OPERE CONSTRUITE ALE LUI FARKAS MOLNÁR ȘI CONTEXTUL ACESTORA

Author(s): Maria Boștenaru Dan / Language(s): English,Romanian Issue: 12/2020

This paper presents the contribution of Hungarian artists working with space and architects to the Avant-Garde. The writer Lajos Kassák contributed with his writings to the propagation of the Avant- Garde (like journals in other countries, ex. Contimporanul in Romania). The strivings to innovate architecture from the beginning of the century could first not be continued after WWI as the Soviet Republic failed. After work in exile, some from the Avant-Garde returned home. Bauhaus student Farkas Molnár built several Modernist single family and apartment blocks, and he also started before his premature death the Holy Land church which remained unfinished. Corresponding to the two phases, before the Soviet Republic and subsequent emigration and after, the Hungarian Werkbund was founded twice. The first founding builds on the turn of the century innovation in the architectural language of the facade. This was researched by means of literature review, visit of exhibitions, and reading some of the interwar works in original. The article tries to put in context the built architecture of Farkas Molnár within the architectural theories of the style and the development of the architectural theories from the point of view of architectural language.

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Зооморфная иконография св. Христофора в искусстве балканских стран

Зооморфная иконография св. Христофора в искусстве балканских стран

Author(s): Darya Vadimovna Naydenova / Language(s): Russian Issue: 2 (28)/2020

St. Christopher was one of the few Christian saints whose image was portrayed in vivid and remarkable iconic art. Although the anthropomorphic iconographic image of the martyr was known in the Byzantine world since ancient times, the painters purposely proceeded to depict this saint in his zoomorphic guise. The belief in his miraculous power allowing to prevent troubles and to guard against diseases, fostered by the diverse artistic interpretations of the zoomorphic face representation, emphasized his particular mystical status, which enabled this unprecedented martyr’s iconography to survive almost until the present day. The zoomorphic iconography featuring Saint Christopher in the art of the Balkan countries was rather diverse and did not correspond to any persistent canon until the 19th century. The lack of metropolitan works representing St. Christopher in zoomorphic appearance led to a variety of interpretations of his face representation. This article focuses on the zoomorphic iconography of Saint Christopher in the art of the Balkan countries (Greece, Serbia, Macedonia, Bulgaria, Romania). Based on the analysis of the extensive corpus of the martyr’s images, portrayed in the monumental and easel paintings of the Balkan countries, the author identifies several subtypes of the martyr’s zoomorphic iconography (with a head of a dog, a horse and actually of a lamb), reveals the possible ways of emergence of each subtype, as well as outlines the regional distinctive features of the prevalence of one or another zoomorphic subtype.

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К истории появления фресок Андрея Рублева и Даниила Черного в Успенском соборе Владимира

К истории появления фресок Андрея Рублева и Даниила Черного в Успенском соборе Владимира

Author(s): Aleksandr Vladimirovich Lavrentyev / Language(s): Russian Issue: 2 (28)/2020

The article discusses the reasons and circumstances of the trip made by the famous icon painters Andrei Rublev and Daniil Cherny in 1408 to Vladimir-on-Klyazma in 1408, commissioned by the Grand Prince Vasily Dmitrievich in order to «renew» frescos of the Assumption Cathedral. The trip resulted in one of the most famous fresco ensembles of the Russian Middle Ages. In historiography, it is customary to explain the arrival of the icon painters to Vladimir by the constant concern of the Grand Prince authorities about the cultural and political «Vladimir heritage». The article suggests that a possible reason for the beginning of the works was the preparation of Vladimir and other cities on the former lands of the Grand Principality of Vladimir for their transfer to the governance of the Lithuanian Prince Svidrigailo Olgerdovich. In the summer of 1408 Svidrigailo left for Russia accompanied by the Bryansk bishop, Lithuanian Orthodox princes, boyars and a military squad. Awarding the ancient capital of the Great Principality to the new «servant» of the Grand Prince Vasily Dmitrievich Vladimir was unprecedented. Vladimir-on-Klyazma was never mentioned among the Russian territories granted to other Lithuanian princes who passed into the service of Moscow in the 14th–15th centuries. Svidrigailo Olgerdovich’s «departure» and the simultaneous commanding of the icon painters to the city to work on the paintings of the cathedral was hardly an accident. At the end of the same year, Svidrigailo Olgerdovich left his new «service», and due to that the works on frescos were suspended and never not resumed in the future.

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Модифицированные кости животных в сакральной, игровой и художественной культуре Евразии. Традиции тысячелетий
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Модифицированные кости животных в сакральной, игровой и художественной культуре Евразии. Традиции тысячелетий

Author(s): Irina V. Oktyabrskaya,Lyudmila V. Lbova / Language(s): Russian Issue: 2/2021

The authors address the phenomenon of small plastic — modified bones of hoofed animals in the cultures of Eurasia from the archaic to the present time. The focus of the research is astragalus etc., modified in form, decorated as objects of play, art and magic. The methodology includes reconstruction, typology, semantic analysis, etc. The interpretation of figurines is based on extrapolation into antiquity of ethnographic realities (play, fortune-telling, magic practices) representing the culture of hunters and pastoralists, mainly of the Turkic and Mongol peoples. The research proceeds from the initial integrity and syncretism of culture; the unity of the existence of the human community and its natural environment, the inextricable connection between Man and Animals. The diachronic analysis carried out within the framework of the study allows us to assert that in archaeological and ethnic cultures for three millennia, astragalus were distinguished by the stability of forms and functions. They are used in game, fortune telling and magical practices, and correlated with the idea of vitality — as a kind of entity that unites the world of people and animals. The structural-semiotic approach defines one of the main conclusions of the work, according to which the universalism and stability of ideas about joints are rooted in the initially syncretic mythos-ecological picture of the world, with its characteristic identity of anthropo- and zoomorphic codes of the chronotope.

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Ezoterizmo tendencijų atspindžiai Stabrausko kūryboje

Ezoterizmo tendencijų atspindžiai Stabrausko kūryboje

Author(s): Antanas Andrijauskas / Language(s): Lithuanian Issue: 106/2021

The article focuses on the scarcely studied esoteric aspects and development of theosophical ideas in Kazimieras Stabrauskas’ (Stabrowski’s) creative work as well as in the Warsaw Fine Arts School led by him. It analyses: the esoteric and aesthetic factors that had an impact on the painter’s peculiar artistic style, his contacts with various trends in Russian, French and Polish painting, his accession to the Lithuanian movement for national awakening of fine arts, and his influence on Čiurlionis’ creative work. The article provides a multidimensional discussion of the early and mature stages in development of Stabrauskas’ artistic style, the impact of theosophical ideas and occult practices on the principles of his artistic creativity. Based on the comparative analysis of different stages in Stabrauskas’ creative evolution, the author shows that the painter’s search in the field of esoterics left clear traces in the development of his artistic style and symbolic interpretation of landscapes, historical motives and the image of a woman. It also helped him to originally treat the objects he painted and to stimulated him to take a deeper interest in the cultural history of the Grand Duchy of Lithuania, Lithuanian folklore and mythology.

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Žemaičių vyskupijos parapinių bažnyčių liturginis inventorius ir šventovių puošmenos XVII a. I pusės istorijos šaltiniuose

Žemaičių vyskupijos parapinių bažnyčių liturginis inventorius ir šventovių puošmenos XVII a. I pusės istorijos šaltiniuose

Author(s): Liudas Jovaiša / Language(s): Lithuanian Issue: 4/2020

The article provides an overview (both in terms of types and amount) of liturgical paraphernalia (vessels, vestments, and processional items), musical instruments (organs and bells), and other items of church interior (pews, candlesticks, chandeliers, commemorative plaques, sacristy furniture, boxes for holy oils, offering boxes, wallpapers, sepulchral banners, and stoups) extant in the parish churches of the diocese of Samogitia in the first half of the seventeenth century. The overview is based on the information contained in visitation acts and inventories due to the fact that only a few material pieces of sacral art dating back to the mentioned period have survived until now. Historical sources enabled a description of the whole repertoire of liturgical paraphernalia of the parish churches of the above-mentioned diocese (in the first half of the seventeenth century) for the first time. The overview reveals some transformations of the older practice, occasionally witnessed in local sources of the sixteenth century. More significantly, it enables future research based on a comparison of the described material with the information contained in wider chronological and geographical (first of all, including the diocese of Vilnius) contexts.

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Daina, įamžinusi savo kūrėją

Daina, įamžinusi savo kūrėją

Author(s): Kostas Aleksynas / Language(s): Lithuanian Issue: 30/2005

Daug kas, ypač iš vyresnės kartos žmonių, ir šiandien mena, neretai per pobūvius, įvairius susiėjimus užtraukia dainą, prasidedančią šiais žodžiais. Joje mergelė atsisveikina savo mylimąjį su viltimi, kad jis dar sugrįš, bus nuoširdžiai sutiktas. Pritampa ji ir prie senųjų, ir prie atmenamais laikais atsiradusių dainų. Ir turbūt ne vienas dainininkas nustebs sužinojęs, kad žmogus, taip nuostabiai, švelniai išreiškęs artimų žmonių skyrimosi sukeltą nuotaiką, yra mūsų amžininkas, nors ir gyvenantis toli nuo mūsų.

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KOMISIJOS TAUTOS MELODIJOMS RINKTI IR TVARKYTI POSĖDŽIŲ PROTOKOLAI

KOMISIJOS TAUTOS MELODIJOMS RINKTI IR TVARKYTI POSĖDŽIŲ PROTOKOLAI

Author(s): Kostas Aleksynas / Language(s): Lithuanian Issue: 29/2005

Vos devynis mėnesius gyvavo prie Švietimo ministerijos 1934 metų spalio mėnesį sudaryta Komisija tautos melodijoms rinkti ir tvarkyti, – jos paskirtį tiksliai nusako jau pats pavadinimas. Darbuotis jai teko šalia Vytauto Didžiojo universitete veikusios Tautosakos rinkimo komisijos. Sąlygos atsirasti šiai institucijai buvo pribrendusios. Lig tol mažai tebuvo rūpinamasi, kad kartu su liaudies dainų tekstais būtų fiksuojamos ir melodijos. Tuo tarpu Lietuvos muzikai vis labiau ėmė domėtis jomis, jas rinkti (Teodoras Brazys, Stasys Šimkus ir kt.), užrašinėti, panaudoti savo kūryboje. Be to, kaip tik tada atsiranda galimybių įsigyti naujos kartos garso įrašymo technikos – taigi kuo autentiškiau užfiksuoti tai, kas dainuojama. Tokiomis sąlygomis, daugiausia Zenono Slavinsko (vėliau tapusio Slaviūnu), Adolfo Sabaliausko, Stasio Šimkaus iniciatyva ir įkuriama Komisija tautos melodijoms rinkti ir tvarkyti. Čia pateikiami šios Komisijos posėdžių protokolai konkrečiai parodo, ką ji buvo užsimojusi nuveikti.

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JINGLE BELLS, BELLS AND BELL PENDANTS – LISTENING TO THE IRON AGE FINLAND

JINGLE BELLS, BELLS AND BELL PENDANTS – LISTENING TO THE IRON AGE FINLAND

Author(s): Riitta Rainio / Language(s): English Issue: 32/2006

Subject: Metal rattles found in Finland dating back to the middle and late Iron Age. Purpose of study: To document and classify the rattles and test them as sound-producing devices. To shed light on the Iron Age soundscape and ideas of music-making. Methods: Multivariable analysis, elementary analysis, sound analysis, contextual archaeological methods.

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FRYDERYKO CHOPINO IR FERENCO LISZTO RELIGINĖS PASAULĖŽIŪROS IR KŪRYBOS SĄSAJOS

FRYDERYKO CHOPINO IR FERENCO LISZTO RELIGINĖS PASAULĖŽIŪROS IR KŪRYBOS SĄSAJOS

Author(s): Milda Kazakevičienė / Language(s): Lithuanian Issue: 13/2004

The early 19th century saw a radical change in the composer’s function in society. Instead of providing music for an aristocratic employer, it was now wanted to please a multitude. The first group of composers: H. Berlioz, F. Liszt, R. Wagner grasped and held the attention of the huge new public and sought to lead it on to higher musical level. The next group hoped at first to preserve the values of true classical art. Robert Schumann was the most articulate spokesman of this group, F. Chopin - its most extreme practitioner. F. Chopin is unique among the great masters in that his compositions are almost exclusively for the piano instrument. When F. Chopin graduated from the Warsaw Conservatory, he traveled to Viena, Munich, Berlin as pianist and composer, winning a good success. The young artist stayed for a long time in Paris and made it as his new home. His fame was growing up and at his pivotal time of his life F. Chopin wandered from the faith of his childhood. He raised in a devout Catholic family and his parents continued to pray for their distant son and wrote him reassuring letters. In this period of disorientation and spiritual confusion, F. Chopin met the famous French novelist George Sand. She invited him to spend the summer of 183 8 with her, and for the next eight years they endured a stormy romance. Even in this phase of spiritual draught, there are indications that F. Chopin’s faith was trying to resurface. In Sand’s autobiography „Story of My Life” some passages seem that F. Chopin’s faith deeply surprised her. She complained that „he was a prisoner of Catholic dogma”. For much of this period F. Chopin was deeply distressed with inner turmoil, provoked in composer’s soul a permanent fear of hell, since his relationships with G. Sand had not been blessed by the Church. There is evidence that composer was a man of prayer, but he kept his religious feelings to himself and never touched upon his faith, but held it without attracting attention to it. The tension F. Chopin felt at this time of his life was finally resolved in a painful break with G. Sand. With maturity his religious feeling became intense. As F. Chopin’s conditions became critical, the Abbe Jelowicki, who had known the Composer for many years, was sent for. After spending much time with F. Chopin he repented, received a reconciliation and a new birth in Christ. Patience, trust in God, love to all people, even joyful confidence never left him in spite of all his sufferings till the last breath in the morning of October 17, 1849.

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