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Nearly all the work of Kara Walker produced thus far including Gone: An Historical Romance Of A Civil War As It Occurred Between the Dusky Thighs of One Young Negress And Her Heart (1994); The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven (1995); The Battle of Atlanta: Being the Narrative of a Negress in the Flames of Desire . A Reconstruction (1995); Presenting Negro Scenes Drawn Upon My Passage Through the South and Reconfigured for the Benefit of Enlightened Audiences Wherever Such May Be Found, By Myself, K.E. B. Walker, Colored (1997) . I cite a few of the titles to give you some flavor of the work . nearly all the work employs the same technique: the adhesion of black paper cut-outs to white gallery walls.
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The material upon filigree, famous from Slavonic and Russian hoards of VIII-X centuries, is analyzed in this monograph. The main idea of analyze is in the combining of the three types of data: technological, typological and stylistic.The typological definitions of the things had been done. The styles of filigree art of the period are characterized, their typical stylistic elements are defined. These styles are: the volume-geometric, partition, line-geometric, geometric, archaic and scrolling. The technological data upon the methods of filigree production, received with the help of visual study of the jewelry items by the binocular microscope, are given.The filigree items from the Hariyev hoard of VIII century had been producted in Byzantine technology, but with the local features. The own treating of the Byzantine prototypes is also observed in the forms of jewelry.In IX – the beginning of the X centuries some previous types of jewel items continue to exist: star form of temple rings, sphere shape of ear rings. New types also had spread. Filigree original forms of ray types of temple rings may be supposed, simple cast ones are known in the hoards and settlements of this period. The first examples of bunchtype temple rings appear. Seldom variants of hybrid character are famous. This confirms the local process of the creating of the forms of jewelry on the phone of the foreign influence.The main categories of filigree material from the hoards of X century are analyzed: bunchtype and bead temple rings; beads; disc shape, semi sphere round and lunula pendants to necklace; beads pendants; the jewel for arms and the subjects of cult.The items in the volume-geometric and partition styles are the earliest: IX - the edge of IX-X centuries. The things in line geometric style of early stage exist in the first quarter of X century, - of developed stage – in the second quarter of X century. The scrolling style prevails in this time on the items of foreign origin. Up to the middle of the X century the geometric style had been formed, and in the second part of the century it had spread widely. The original Russian archaic style emerged at the end of the X and in the beginning of the XI centuries. The typological and stylistic development coincide.The using the fragments of the large section wire of different dimensions as the supplies for granules, the using of twine filigree and wire of large diameter (round 1,0 mm) may be dated by the edge of IX and X centuries. This is the local tradition.At the middle of the X century the two main traditions are defined: beaded wire and twine filigree with diameter 0,5 mm. The using of beaded wire is characteristic for the group of the items of foreign production of the first half of the X century, fulfilled in Byzantine and north-European tradition.The local tradition of the production of the granules from the irregular fragments of metal is connected with the line geometric and geometric styles. It had been prolonged up to the XII century. Such granulation is combined with different types of the filigree. During the X century Russian craftsmen gradually began to product more standard granulation with the using of rings and equal fragments of wire as supplies.So the emerging of the first methods of filigree production dates by the edge of IX and X centuries, but the high level handicraft had been formed up to the XI century. The local tradition is connected with the items of geometric styles, the Byzantine-European tradition – with partition and scrolling styles.On the material of X century we can observe the emerging of the bead temple rings on the base of local tradition of wearing in the head gear - from one side, and by the way of the acknowledge with jewel types of the beads of more high Byzantine jewel culture, represented on the bunchtype rings – from other side. The main categories of the jewel items from Russian hoards were the things of common Slavonic spreading and production, but in every land, and also in Russia, their way of development was original.
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The stone decoration of various buildings in the capital city Preslav is interpreted not only as a testimony to the development of a representative work, but also as an ideological message of otherness equal to Byzantium. It was Byzantium that gave an initial impetus to the mushrooming of art workshops, which shaped the contemporaneous for that period manner of the earliest Preslavian monuments in the style of the ‘Macedonian’ tenth century with its reversion to the early Byzantine models combined with the orientalising thickly filigreed carving (the cladding slabs in lavish relief and some of the cornices). Dominating, though, was the affection for classical in terms of their provenance motifs occurring on friezes and capitals. The ‘antiquarian’ tastes of the court of King Simeon’s ‘golden age’ drew inspiration from the paragons of Justinian’s golden age. The striving to stand ‘equal’ to the most relevant or magnificent Byzantine monuments was in keeping with Bulgaria’s claims under Simeon. An interesting example of the same trend was the revived ancient practice of setting animal heads in the round on the stone downpipes (Church no. 1 in Avradaka locality), typical of Byzantium of the age. Unlike these, the animal protomai freely projecting from the walls and the numerous external cornices have no equivalent in Byzantine architecture. They testify to the ‘emancipation’ from the direct Constantinopolitan influence in the second half of the tenth century and to the formulation of modern decorative concepts, which were avant-garde plastic quests ushering in the Romanesque art. Making original works was an art response to the need for building a culture with its own distinctive physiognomy in the world of Christian universalism, which Bulgaria joined in the second half of the ninth century, and to the growing cultural influence of Byzantium under King Peter.
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The state of preservation of a stained glass window is determined by the state of preservation of its constituent elements. These elements are the lead network, the glass, the support and reinforcement system (ferramenta) and putty. The breakdown of one or more of these systems tends to hasten the breakdown of the remaining systems and ultimately the entire stained glass panel fail apart.Cracks and lacunae repairs can be classified into two categories: traditional – mending lead and copper foil repairs; modern methods – use of synthetic resins for edge gluing of broken pieces and infills.None of these methods are perfect, each will have its own advantages and disadvantages, technical or aesthetic, instead the decisions about the type of intervention are determinative for the success or failure of the conservation approach.
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The paper briefly presents a summary of the Buddhist paintings from Ladakh in the Himalayan region, their technical details, recurrent damages and conservation approaches. To illustrate, three case studies are outlined from the THF wall painting conservation projects; temples built in the 13th and 15th centuries, revealing the various techniques and specific degradations encountered in this type of earthen building. The general conservation strategy is described, emphasising the necessity of using the local natural materials due to their compatibility with the original and their availability in the area. The program also recognises the need to share conservation knowledge and building maintenance through training programs for local students and monks.
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Barocul este expresia unei maturări interioare a sensibilităţilor europene, chiar dacă aceasta nu traduce şi un echilibru; barocul înseamnă contrast, noutate, contradicţie, spirit aventurier şi temere. Barocul a luat naştere printr-o lovitură de teatru şi sub amprenta acesteia ajunge să guverneze vieţi, ridicându-le din neant sau prăbuşindu-le. Omul baroc manifestă o dizabilitate accentuată, emoţională şi psihică pentru că timpurile pe care le trăieşte îl supun unor experienţe traumatizante. Cu o doză de nebunie şi cu o doză de pragmatism cinic, el trăieşte zilnic lupte fizice şi morale, vede cum în faţa lui lumea cunoscută se schimbă din clipă în clipă, cum certitudinile dispar. Prin „om” înţelegem ceea ce se află în spatele categoriilor profesionale, sociale, economice, religioase, etnice şi prin urmare este normal ca fiecare dintre aceste segmente să se producă sub un anumit comportament, influenţat de cotidian. Mărturiile sale existenţiale, discursurile sunt măsura epocii respective. Creaţia artistică a secolelor XVII-XVIII este îndeosebi una dintre cele mai importante surse privitoare la epocă, a cărei decriptare poate permite o altă ecranizare a intervalului. Artele plastice majore româneşti încifrează metamorfozele care au loc la nivel ideatic dar şi în plan material, ilustrând noile forme ale gândirii şi fiinţării autohtone. Prin însăşi creaţia materială luăm la cunoştinţă despre începuturile maturizării societăţii româneşti, despre asumarea noilor responsabilităţi şi temeri, despre valorile acumulate de-a lungul timpului, despre noul statut. Oglindirea fidelă a trăirilor şi sensibilităţilor populaţiei în programele culturale şi artistice denotă o existenţă tranzitivă, între vechi şi modern, între Orient şi Occident, dar fără a neglija originile şi moştenirea. Documentul vizual, ce însumează edificii de cult (biserici, catedrale), clădiri civile, publice sau particulare (conace, palate), sculptură în relief sau ronde-bosse, fresce votive sau reprezentări canonice, vorbeşte prin punct, linie, pată de culoare, volum, despre lumea proiectată de mentalul şi imaginarul social al românilor. Dacă un palat de talia celui de la Mogoşoaia sau fastul maladiv ce-l înconjoară pe Vasile Lupu sunt mai explicite cu privire la imaginea pe care o aveau despre sine sau doreau să o creeze aceste societăţi, nu mai puţin lipsite de importanţă sunt formulările ceramice decorative parietale, arborii genealogici „portretizaţi” sau analogiile istorico-mitologice. Fie că sunt exprimări subtile, discrete, metaforice sau dimpotrivă, declaraţii directe, pline de patos (ale omnipotenţei şi strălucirii curţii de la Viena, de pildă), enclavele de creaţie artistică românească, de sorginte barocă, surprind prin complexitate şi elocvenţă, prin verticalitatea şi pertinenţa mesajului.
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Apărut ca o metodă de afirmare a proprietății asupra unei cărți sau de delimitare a unei colecții de cărți, ex-libris-ul a depășit condiția de semn al proprietății devenind o mică operă de artă. Originile sale sunt strâns legate de utilizarea semnelor heraldice, însă chiar și la începuturile sale, ex-libris-ul cuprinde uneori elemente suplimentare care exprimă aspecte mai puțin formale decât cele legate de blazon. O a doua etapă a evoluției ex-libris-ului marchează desprinderea sa de heraldică și apropierea de zona miniaturilor artistice. În această etapă, pictori și gravori cunoscuți sunt angajați pentru a crea ex-libris-uri, iar acestea cuprind o mare varietate de teme: portrete, peisaje, obiecte, animale, alegorii, nuduri, etc. Imaginile din ex-libris sunt deseori însoțite de o deviză sau de un citat considerat a fi reprezentativ. În cazul ex-libris-uri-lor care au aparținut unor personalități istorice, acest citat poate să ne releve un aspect inedit legat de viața lor privată. În articol sunt expuse câteva momente importante legate de istoria ex-libris-ului din unele țări europene și din arealul țării noastre. Spre deosebire de alte țări în care ex-libris-urile sunt folosite curent încă din secolul XVI, în țările române și Transilvania el apare mai târziu, fiind adoptat pe scară largă doar din secolul XIX. Lucrările care analizează ex-libris-urile din România sunt puține și de obicei tratează unele aspecte particulare legate de subiect – ex-libris-urile heraldice, tehnici tipografice folosite pentru realizarea gravurilor sau ex-libris-urile dintr-o colecție muzeală sau particulară. Datorită acestui fapt, cercetarea domeniului poate scoate la iveală aspecte inedite, neexplorate încă de alți autori.
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Extinderea dominației habsburgice în spațiul transilvan a oferit noi oportunități intelectualilor locali. Împărații austrieci au încurajat numirea în posturile din administrație a unor persoane competente și au oferit deseori burse de studii tinerilor care nu aveau mijloace financiare pentru a studia în universitățile din marile orașe austriece. Această politică a avut drept rezultat creșterea prosperității intelectualilor din Transilvania, care și-au permis să cumpere cărți științifice alcătuindu-și biblioteci personale. Acest fenomen poate fi constatat și prin apariția unui număr de ex-libris-uri personale ale oamenilor de cultură ardeleni. Studiul de față își propune să prezinte câteva dintre ex-libris-urile celor mai importanți intelectuali din Transilvania, însoțite și de câte o scurtă schiță biografică. Ex-libris-urile studiate aparțin lui Nicolaus Olahus, Michael Gottlieb Agnetheler, Daniel von Cornides, Huszty Miháli, Jakosics József, Csiba Mihály, Ivánsics János, Ignaz Edler von Born și Miller Jakab Ferdinand.
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Illustrating the recent exhibition Estranged / Obcy w domu, the author wonders if, and how, contemporary Polish visual art has contributed to integrating the shame of the anti-Semitic campaign into the collective memory of the nation. She focuses in particular on the works of three artists: Krystyna Piotrowska, Erna Rosenstein, and Krzysztof Wodiczko, and on how the exhibition represents some currents in visual studies linked to historical narrative.
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The image of a country estate was often used both in the Russian literature of the late 19th and early 20th century, and in the painting of this period: they shared common themes, motifs, and subjects. The idyllic image of the estate, filled with peace, tranquility, serenity, where a person lives in harmony with nature, was interpreted in verses by Ivan Bunin (e.g. The night turns white...), Vladimir Nabokov (A Lovely Time) and others, and illustrated by the paintings of Sergei Zhukovsky (The Evening Sun, 1914, A Manor House in the Autumn, 1906, etc.) In the eyes of the lyrical hero, the image of a country estate often carried the first love’s memories, and was filled with an atmosphere of happiness. Thus, the romanticized image of the country estate was used in the verses, e.g Nikolay Gumilyov’s Old Manors (1913), Ivan Bunin’s In quiet night, the moon has risen... (1916), etc. and in paintings, e.g. Konstantin Korovin’s The Larins’ Garden” (1908), A Nocturnal Duet (1921), Igor Grabar’s Golden Leaves (1903). Sometimes the manor appears as a place preserving the memory of a happiness long lost, a life long gone, of a family nest full of memories. One can see, for example, the pictures: Sergei Zhukovsky’s Sad Thoughts (1907), Vasily Polenov’s Grandmother’s Garden (1878), the verses by Andrei Bely The Manor (1903, 1925), Konstanin Balmont’s In Memory of Turgenev (1894) etc. After the Russian Revolution of 1917, the émigré literature often used the image of a destroyed manor as a symbol of the demise of Russia and its unique culture.
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At the beginning of the XX century surrealists rebelled against traditional culture and expressed their lack of faith in rational world perception. Instead, the artists and poets drew attention to imagination and focused on the study of the unconscious and irrational. They attributed great importance to the image which became the core of their aesthetics and was assigned the role of a vehicle for bringing forth into the conscious mind the creative forces of the unconscious. Surrealist imagery is verbalized through the cult of metaphor, synesthesia, arbitrary and spontaneous combination of words. In our work we consider approaches to the concept of the surreal image and explore linguistic peculiarities of N. Zabolotsky poetry. Nikolay Zabolotsky is a Russian poet of the literary and artistic avant-garde group OBERIU whose early poetic experiments (published in the book of poetry Stolbtsy in 1929) bear certain resemblance to the poetry of French surrealists. Though he mostly describes everyday life, routine surroundings typical for his time/ place, he does this with irony and love. The irrational world of N. Zabolotsky is created through illogical combination of words, absurd imagery, personification, metaphors.
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L’incontro con il manifesto polacco, all’inizio degli anni Ottanta, si è rivelato fondamentale per molti grafici italiani della mia generazione. E, per alcuni di noi, ha messo in moto meccanismi che andavano al di là dell’interesse per questo specifico aspetto della cultura di una nazione che avevamo iniziato a conoscere soprattutto a partire dai settori del teatro e del cinema.
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Graphic work from 1564, depicting the janissariesʼ deployment in the battle of Varna, seen by the rear at around 3 oʼclock on the afternoon of 10.11.1444.
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Review of: Bildende Kunst in Mecklenburg und Pommern von 1880 bis 1950. Kunstprozesse zwischen Zentrum und Peripherie. Publikation der Beiträge der Kunsthistorischen Tagung, veranstaltet vom Caspar-David-Friedrich-Institut, Bereich Kunstgeschichte, der ErnstMoritz-Arndt-Universität Greifswald, 20.-22. November 2008. Hrsg. von Bernfried Lichtnau . Lukas. Berlin 2011. 541 S., 225 Ill., graph. Darst. ISBN 978-3-86732-061-0. (€ 36,–.). Reviewed by Tomasz Torbus.
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Izložba Visovac: duhovnost i kultura na Biloj Stini u Muzeju za umjetnost i obrt u Zagrebu (30. studeni 2019. – 2. veljače 2020.) uvela je posjetitelje u doista skrovitu a bogatu kulturnu baštinu. Teško je dostupna, jer su franjevački samostan Majke od Milosti i crkva Gospe Visovačke, gdje su sakupljeni, nalazi na riječnom otočiću Visovcu, zapravo riječnoj hridi, povijesno zvanom i Bila Stina (lat. Lapis albus). Taj je krajolik odavna pojam prirodne ljepote [sl.1], ali je teško dostupan i tek sada je njegova likovna, liturgijska i knjižna baština približena javnosti. Visovac je jedan od onih malobrojnih povijesnih samostana Bosne Srebrene, koji bilježi neprekinuto trajanje od predosmanskoga vremena do sada. Prekid od nepuna tri desetljeća tijekom kojih su se franjevci sklonili u Šibenik od polovice XVII. stoljeća do 1670-ih jedino je napuštanje samostana od oko 1445. godine, kada su ga franjevci iz tadašnje Bosanske vikarije naselili. Takve trajnice su i samostani u Kraljevoj Sutjesci, Fojnici i Kreševu, s kojima je visovački bio povezan do sredine četvrtoga desetljeća XVIII. stoljeća, a potom je pripao – dijelom i zbog prethodne odluke mletačkih vlasti da na osvojenim područjima pod njihovom upravom ne mogu pastoralno djelovati „stranci“ – novoosnovanoj Provinciji sv. Kaja pape i mučenika (1735), preimenovanoj ubrzo („jer im se svijet rugao govoreći ‘vi ste kainovci’“, kako je zabilježio fra Bono Benić u Ljetopisu sutješkoga samostana) u Presvetoga Otkupitelja (1743).
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The article presents the production of icons known for the time being by Macarius from Galatista within what is now Bulgaria. It covers first of all the region of the Rila Monastery, from where three sets of his icons are known, and from Samokov, where his individual artworks have been found. Neither of his icons bears his signature except those commissioned by Archimandrite Ignatius for the iconostasis of the Church of the Assumption at the Pchelina (Apiary) Metochion, Rila Monastery, dated 1789 and 1792 respectively. Icons by Macarius at the Rila Monastery and in Samokov along with the presence of his nephews in these places throughout the 1790s testify to a very productive cooperation of many years between painters from Galatista and local donors. The early murals and icons by Zachary and Benjamin are concentrated in the same region, and there is a great deal of icons of the period when the style of Macarius has reached maturity. A critical evaluation is made of some wrong assumptions about the life and work of Macarius. The wrong notion in Creek literature that he had been trained with Damascene from Ioannina, who worked on Mt Athos in the early eighteenth century is corrected. Arguments are put forward, questioning whether or not Macarius should be believed to be an authentic Athonite painter, trained at the workshop led by Damascene from Karpenissi on Mt Athos or be said to be an ‘external’ painter, a member of a team formed back in Galatista, who later rented the cell of the Nativity of the Theotokos in Karyes to found a workshop on Mt Athos.
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The woodcarvings at the Church of the Assumption in Haskovo are unstudied. Judging by the payments entered in the kontakion kept at the church, it took a long time to complete its decoration. The ambo, the bishop’s throne and the proskynetaria were made by woodcarvers from Edirne before 1837. The iconostasis was carved in 1840 by Diamandis Teladour from Edirne and Stamatis Marangoz (The Woodcarver) from Madytos. The iconostasis and its parallels give an idea of the activities of a woodcarving workshop of the second half of the nineteenth century in Thrace. In 1835, Stamatis Teladour carved the altar screen at the Church of St Anastasius in Didymoteicho, and in 1861, the iconostasis at the Church of St George in Souphlion, bearing his signature. The style and the compositional similarities allow to attribute to him the iconostasis at the Church of Theotokos in Didymoteicho, made in collaboration with Diamandis Teladour; the iconostasis (1847) at the Church of Christ the Saviour in Didymoteicho, the templon at the Church of St Michael the Archangel in Haskovo. It also dates from 1861 and was wrongly attributed in the literature to Yane Spirov, who was a painter, according to recent studies. To this body of works belong also the altar screens at the catholicon of the Monastery of Kornofoleá and at the Church of St Anastasius (1908–1913).
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The paper deals with two similar symbols – “The Judgment of the Soul” in the art of Ancient Egypt and “Weighing the Souls” from the scene “The Last Judgment” in the Bulgarian Orthodox art. They are part of the eschatological understanding of the afterlife. These symbols were analyzed and the paths of their movement were traced. The visual image of the supreme check of every deceased is the weighing of the heart and the judgment of God Osiris. It is related to spell 125 of the Book of the Dead. The article analyzes the iconography of this scene, which was widely used during the New Kingdom in Ancient Egypt. The “Judgment of the soul” of Ancient Egypt was probably transmitted by the Jews in Asia, and later entered the Christian iconography of the composition “The Last Judgment”. The formation of the iconographic image type in Byzantine and Western European art was traced. During the Bulgarian Renaissance, “Weighing of Souls” became a major motif and was interpreted by a number of painters in Southwestern Bulgaria. Images in the temples of Blagoevgrad, Rila, Bistritsa, Selishte, Dobarsko, Teshovo, Zlatolist, Dolen and others have been preserved. The analysis of the iconographic images makes it possible to summarize the results which show a number of similar elements in the two scenes. Such are the holy characters God Anubis and Archangel Michael, the two exits for the soul of man - eternal life or eternal torment. The long life of the symbol under consideration leads to the conclusion about the continuity of the moral evaluation of human earthly affairs.
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