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Silvan, tatăl meu sau despre un portretist între literații, muzicienii și actorii secolului XX

Silvan, tatăl meu sau despre un portretist între literații, muzicienii și actorii secolului XX

Author(s): Adrian Silvan Ionescu / Language(s): Romanian Issue: 1/2022

In this article, art historian and critic Adrian-Silvan Ionescu presents the life and work of his father, portraitist Silvan Ionescu. In a life of 9 decades, between 1909 and 1999, Silvan Ionescu managed to draw and, thus, to immortalize the cultural-artistic life of Romania in the 20th century. In his countless drawings are represented all those who proved to be someone in the cultural arena of the time: writers, critics, historians, philosophers, musicians, actors, artists. Silvan Ionescu often returned to certain faces: Lucian Blaga, Tudor Arghezi, Liviu Rebreanu, George Bacovia, Mihail Sadoveanu, George Călinescu and others. The portraitist has collaborated with numerous publications from different periods: Literary Universe, Contemporary, Morning Star, 20thCentury, Daily, Literary Romania. In addition to the many volumes he illustrated, he also published two albums under his own name: Portraits of Writers (1982) and Great Musicians of the World in Romania (1995). With awide eyes and an alert hand, Silvan Ionescu lived his life with a sketchbook at hand. He undoubtedly contributing to the building of national culture by portraying many prominent personalities of the last century.

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Arta pentru popor sau „realismul socialist” din anii 1944–1991

Arta pentru popor sau „realismul socialist” din anii 1944–1991

Author(s): Tudor Stavilă / Language(s): Romanian Issue: 1/2022

This article is an attempt to link two distinct periods of Bessarabian art – the interwar period and the postwar period. These stages manifested themselves in our culture and art as diametrically opposed sources. The options for a freedom of creation, for the artistic value of the works were a desideratum of the Bessarabian plastic artists, tempted to accept any style or individual way of expression, regardless of the political or economic conjuncture. After the 1940s, the visual arts were influenced by the ideological system through the trend of “socialist realism” which was considered the only method of creation of visual artists. In this regard, specialists from other republics were invited to Soviet Bessarabia, whose purpose was to influence and educate local artists against formalist and non-bourgeois art. For five decades, in the Moldovan SSR, against the background of deportations and famine, socialist realism and state command created an illusory art of the surrounding reality, in which many of our visual artists were involved, almost without exception.

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ZIDNI OSLICI U CRKVI ROĐENJA PRESVETE BOGORODICE U KOPRIVNI – ANALIZA IKONOGRAFIJE, STILA I NARUČITELJA U KONTEKSTU UMJETNOSTI VITEŠKIH REDOVA

ZIDNI OSLICI U CRKVI ROĐENJA PRESVETE BOGORODICE U KOPRIVNI – ANALIZA IKONOGRAFIJE, STILA I NARUČITELJA U KONTEKSTU UMJETNOSTI VITEŠKIH REDOVA

Author(s): Iva Papić / Language(s): Croatian Issue: 21/2021

The subject of this paper are wall paintings in the fresco technique, discovered in 2007 in the sanctuary and in the lunette of the portal of the Church of the Nativity of the Most Holy Mother of God in Koprivna. This medieval church, originally dedicated to St. George, Lelja Dobronić associated with the Order of the Hospital of St. John of Jerusalem and interpreted it as the only remnant of their architecture on their medieval estate called Dopsa. Tibor Rostás, on the other hand, does not mention Dobronić's thesis about the Hospitallers' origin of the church in Koprivna and he connects the origin of the church and paintings in it with the Ják family from the middle of the 13th century. The text analyzes the historical written sources, as well as iconography and style of paintings in the sanctuary and the lunette of the church with the aim of giving a well-founded proposal about the original builders of the church and the patrons (sponsors) of these paintings. Koprivna is not mentioned directly as part of the Hospitallers estate of Dopsa, but the analysis of written sources from the 13th to the 15th century, which touch upon the estates in the immediate vicinity of Koprivna, supports the assumption that Koprivna, according to L. Dobronić, was originally part of the Hospitallers estate Dopsa in the 13th century, so that in the middle of the 14th century Koprivna was owned by the noble Korogyi family. In the analysis of paintings in the sanctuary, the Byzantine painting tradition was detected, which influenced the iconography of the individually depicted figures - especially the depiction of the Virgin Mary of the Nykopoia type and St. George in a standing frontal position - as well as the iconography of the entire preserved composition. Stylistic analysis of the paintings affirmed similarities with the probably simultaneous Italo-Byzantine style of the Italian trecento. The similarities are visible in the design of the volume, folds, wings of the archangel and the throne of the Virgin. A comparative analysis of paintings from Koprivna with related European Romanesque murals showed that the choice of iconographic types and compositions, the choice of saints for painting within the sanctuary and, finally, the stylistic characteristics of the depicted characters can be interpreted in the context of knight crusaders' art. Based on the established similarities of wall paintings from Koprivna with examples of Templars' and Hospitallers' art from Italy, France, Greece and the former Holy Land, it is proposed that Knights of St. John were builders of the church in Koprivna and also patrons of paintings and prescribed iconography in the church sanctuary. The presented proposal is in accordance with the assumptions of earlier historians about the Hospitallers' origin of the church.

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BARBARA VUJANOVIĆ, DALIBOR PRANČEVIĆ, MARIJAN LIPOVAC, JIŘI KUDĚLA, IVAN MEŠTROVIĆ I ČESI: PRIMJERI HRVATSKO-ČEŠKE KULTURNE I POLITIČKE UZAJAMNOSTI

BARBARA VUJANOVIĆ, DALIBOR PRANČEVIĆ, MARIJAN LIPOVAC, JIŘI KUDĚLA, IVAN MEŠTROVIĆ I ČESI: PRIMJERI HRVATSKO-ČEŠKE KULTURNE I POLITIČKE UZAJAMNOSTI

Author(s): Vjenceslav Herout / Language(s): Croatian Issue: 3/2018

Review of: Vjenceslav Herout - Barbara Vujanović, Dalibor Prančević, Marijan Lipovac, Jiři Kuděla, Ivan Meštrović i Česi: primjeri hrvatsko-češke kulturne i političke uzajamnosti, Zagreb, 2018.

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Abajur Pentru O Bibliotecă

Abajur Pentru O Bibliotecă

Author(s): Aliona Grati,Ion Gumenâi,Liliana Condraticova,Diana Dementieva / Language(s): Romanian Issue: 1/2022

Reviews of: Maxim Melinti, Fiodor Uspenski și Institutul Arheologic Rus din Constantinopol, Chișinău, 2021/ Nicolae Roșca, Mușuroiul, Chișinău, Moldova Aeterna, 2020/ Valentin Arapu, Relațiile comerciale dintre Moldova și Polonia în a doua jumătate a secolului al XVIII-lea, Colecția: Românii în istoria universală, The Romanians in world history (Vol. 442), București, Editura Eikon, 2021, 398 p. ISBN 978-606-49-0581-9/ Болюк Олег, Художнє дерево у церквах (за матеріалами західних областей України). Львів: ІН НАНУ, 2020/ Olga Căpățână, Dincolo de beznă, Chișinău: ARC, 2021/

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“Making Sense in a Senseless World”: Disco Elysium’s Absurd Hero

“Making Sense in a Senseless World”: Disco Elysium’s Absurd Hero

Author(s): Thomas Spies / Language(s): English Issue: 9/2021

This article examines the representation of mental health issues in the computer role-playing game Disco Elysium by using Albert Camus’ theory of the absurd as a basis. Through his daily work routine as a detective, the protagonist Harry DuBois’ trauma unfolds through the course of the game while simultaneously revealing the psychosocial aspects of trauma. Interpreting Harry’s existential struggles as those of an absurd hero supports the idea that finding (greater) meaning is not a necessity when coping with trauma.

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Pictorul Nicu Enea (1897-1960). Repere ale unui destin uman

Pictorul Nicu Enea (1897-1960). Repere ale unui destin uman

Author(s): Feodosia Rotaru / Language(s): Romanian Issue: XXXVI/2007

L’auteur poursuit, d’une manière chronologique, la vie et le destin artistique du peintre Nicu Enea (1897-1960). Naît sur les terres de Bacău, il s’est formé et consacré dans la période d’entre les deux Guerres Mondiales, mais il a été injustement ignoré, vers à la fin de sa vie.

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Transience of All Things

Transience of All Things

Author(s): Petra Cepková / Language(s): English Issue: 1/2022

Within the horizontal level of perception of the world (the sphere of intellect) and the vertical sphere of the heart, the study is an analytical examination and questioning of the photographical medium essence across various views from areas of philosophy, theology, semiology, and visual culture. At the same time, it is, however, also a view from inside, i.e., the author’s note based on personal experience with this medium. The objective of the study is to decode seeing as an autonomous, actively performed, and purposeful activity of body and soul, but also as universally valid principles of looking; but mostly, it is an attempt on defining the essence of this particular action. Thus, what comes to the fore is the mental image that proposes various questions about desire to own the world, which is simultaneously an image of awakening within the being through photography. Within the context of human temporality, it forms an ontological basis illustrated by documentary photography with its devoted duty to see the world in the complexity of being; and the relationships arising in such way, breaking the reality, are connected to the sphere of the heart animating the work of art. Here, art as an expectation of the truth is being depicted by profane situations of searching for infinity, which talk about an apparent triumph of human spirit over the transience of all things. The study is based on the thoughts of Maurice Merleau-Ponty, Roland Barthes, and Marián Gavenda. Photography supported by the “fluidity” of modern thinking allows us to better see the signs of lost paradise; brings us from the non-being to being; is Breton’s “catalyst of human desire”. It is also about a constant - Cézanne´s expansion and overflow of objects’ boundaries in a picture, where we cannot but state that photographer’s relationship to the world is a relationship full of ambiguities but also immense closeness.

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The Principles of American Photorealism: From Photographs to Paintings

The Principles of American Photorealism: From Photographs to Paintings

Author(s): Katarína Ihringová / Language(s): English Issue: 1/2022

American photorealism was an art movement born in the late 1960s in the USA, from where it travelled to the European continent over the following decades. Drawing inspiration from pop-art iconography, it resolutely stood in opposition to abstract expressionism, conceptualism and minimalism. Its uniqueness was rooted in a new medium, which it began to employ in the creation of its paintings: photography, which in this way established new relationships with painting and brought several crucial issues for the theory of art of the period to deal with. This study focuses on two of them: the issue of the truth of the photographic medium and the reproducibility of a work of photorealism.

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The Cathedral in Contemporary Art: the connection of tradition and technology in the cases of Gerhard Richter and Marko Blažo

The Cathedral in Contemporary Art: the connection of tradition and technology in the cases of Gerhard Richter and Marko Blažo

Author(s): Adrián Kobetič / Language(s): English Issue: 1/2022

The medieval cathedral is a relatively common theme in art, and the fascination that these buildings evoked among artists even soon after they first appeared can be traced through history. Nonetheless, artistic attitudes toward medieval architecture have evolved over time and by the late 20th century, interest in depictions of Christian places of worship had waned almost entirely. By the end of the century, however, spirituality was rediscovered as a subject of art and the theme was addressed in several important works of art in subsequent years. Some of these works attempted to foster a dialogue between history and the field of digital technology, and this study will examine examples of this approach with examples from two artists. The first of these is the world-renowned German artist Gerhard Richter’s design for the window of the south transept of Cologne Cathedral. Richter used a random number generator in the preparation of his design to express the understanding of God as the cosmic principle of the infinite, of an abstract and inconceivable order. The second artist is Marko Blažo, part of the generation which appeared on the Slovak art scene in the mid-1990s. His images of the cathedral are created from the repeated manipulation of original photos using a photocopier which are then further distorted by being expanded and reduced using a computer. Through this process and its subsequent reworking, the cathedral is shifted into a new visual level of the interpretative and multi-layered desanctification of the subject. The aim of this study is to offer a detailed analysis of these two approaches, examining the media character of the two works and thereby interpreting the attitude of the two artists to the specific object of the medieval church.

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Shocking in Popular Music: Commodification by Eccentricity

Shocking in Popular Music: Commodification by Eccentricity

Author(s): Martin Kasarda / Language(s): English Issue: 1/2022

Intentional eccentricity is a strategy targeted at how to capture publicity and media. Since the time of the emerging modern bourgeois society, exalted artistic eccentricity, bohemianism, has been a regular and significant part of social discourse. Dandy was a hero who needed to be distinguished from the petty-bourgeois lowness. Eccentricity as a working method has been a typical characteristic for radical modernistic art movements such as Dada, Futurism or Surrealism. Popular music has involved eccentricities since the early 1950s, however Elvis or later the Beatles may seem very polite to us today. It is a question of cultural context and pushing boundaries. Eccentricity has become a recognizable brand, identifier and attraction, which should arouse the interest of the audience, attract spectacular visuals or deliberate gossip. However, sometimes it is not clear whether the shock is just a promotional strategy or an artistic intention. Thus, eccentricity plays a huge role in the popularization and commodification of pop-cultural products as a marketing tool that helps build the artist's image, product-recognizable differences and create different ways of linking audiences, with music production itself and its visual presentation often the result of a non-authorial but culturally industrial approach to music.

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House H10 from Marina el-Alamein on the northwest coast of Egypt

House H10 from Marina el-Alamein on the northwest coast of Egypt

Author(s): Rafał Czerner,Grażyna Bąkowska-Czerner / Language(s): English Issue: XXIX/2020

House H10 is a Hellenistic-Roman building that was among the first to be discovered at the site of Marina el-Alamein in Egypt. It is one of the largest and most extensive houses uncovered at the site. The following comprehensive overview is based on the results of regular research since 1997, including initial conservation work. The spatial design is a showcase of building technology typical of houses from Marina. Embedded in both Greco-Hellenic and Roman tradition, it is an oikos house with a courtyard and incomplete peristyle consisting of two columned porticoes on opposite sides aligned with the main axis and a third, perpendicular portico imitated by the architectural decoration of the courtyard elevation articulated with engaged columns. The two main rooms were located on opposite sides of the peristyle. The house was rebuilt several times, resulting in a complicated layout. The house has been re-studied, casting new light on domestic religious practices and the distinctiveness of the architectural and artistic interior design, including exceptional examples of figural wall painting. The architecture and interior décor of the house document the changes at the interface of Hellenistic and Roman traditions.

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Alexandria, Kom el-Dikka. Fieldwork in the 2019 season

Alexandria, Kom el-Dikka. Fieldwork in the 2019 season

Author(s): Grzegorz Majcherek / Language(s): English Issue: XXIX/2020

The report offers an account of archaeological and conservation work carried out at the site. Excavations in the central part of the site (Sector F) were continued for the fourth season in a row. Exploration of remains of early Roman houses led to the discovery of a well preserved multicolored triclinium mosaic floor with a floral and geometric design. A large assemblage of fragments of polychrome marble floor tiles, recorded in the house collapse, showed the scale of importation of decorative stone material from various regions of the Mediterranean. Overlying the early Roman strata was direct evidence of intensive construction work carried out in the vicinity in the form of large-scale kilnworks, supplying lime most probably for the building of the late Roman bath and cistern. Included in the presentation is a brief review of the limited conservation work that was conducted in the complex of late antique auditoria.

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Roman-period pottery from a trench by the northern city wall in Beit Ras/Capitolias

Roman-period pottery from a trench by the northern city wall in Beit Ras/Capitolias

Author(s): Jolanta Młynarczyk / Language(s): English Issue: XXIX/2020

Insight into the chronology of the defenses of ancient Capitolias comes from a standard typological ceramic analysis of pottery finds from relevant stratigraphic contexts. Remains of a defensive city wall were uncovered in one of the trenches opened by a PCMA team working at the site of Beit Ras (ancient Capitolias) in the governorate of Irbid, northern Jordan, in 2015–2016. Neither the foundation nor the earliest walking level connected with the wall was reached; however, three upper floors, all posterior to the construction of the city wall, were identified. Apart from chronological indications, an analysis of the ceramics from under the floors facilitated a study of the repertory of local, regional and some imported wares in Roman period Capitolias.

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A group of early Roman lamps from Chhîm, Lebanon: preliminary research on shapes, fabric and provenance

A group of early Roman lamps from Chhîm, Lebanon: preliminary research on shapes, fabric and provenance

Author(s): Małgorzata Kajzer / Language(s): English Issue: XXIX/2020

The early Roman oil lamps from recent excavations by a Polish team in Chhîm constitute a significantly fragmented group. Macroscopic analysis of fabrics, combined with a typological study and complemented by iconographic research wherever applicable, revealed similarities between these lamps and similar finds from the Levant. The fabric underscores a production continuity from the Hellenistic period and reveals similarities with a regional semi-fine ware. The collected data suggest the Southern Phoenician coast as a potential center of production.

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Development of a settlement on the northeastern promontory at ‘Marea’

Development of a settlement on the northeastern promontory at ‘Marea’

Author(s): Tomasz Derda,Mariusz Gwiazda,Aleksandra Pawlikowska- Gwiazda / Language(s): English Issue: XXIX/2020

The ancient topography of the settlement on the northeastern promontory at ‘Marea’ (North Hawariya) was the subject of investigations carried out at the site in 2018 within the frame of a broader excavation project. Fieldwork established the date of some structures recognized along an ancient road. The oldest remains turned out to be from the Roman period, when the promontory became a rubbish dump for production waste, mostly sherds of AE 3 and AE 4 Egyptian amphorae, from the nearby pottery kilns. Two superimposed occupation levels were recognised, an earlier one from the beginning of the 3rd century AD or later, and a later one from the 5th–6th century. The buildings followed a regular grid that fits into the overall plan of the town. The research has resulted in a better understanding of the changes occurring in this part of the settlement at ‘Marea’.

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Dongola 2018, winter season: epigraphic note

Dongola 2018, winter season: epigraphic note

Author(s): Adam Łajtar,Vincent van Gerven Oei / Language(s): English Issue: XXX/2021

Abstract: The paper gives a brief account of the epigraphic work carried out in Dongola in the 2018 winter season. It included studying wall inscriptions and ostraca from the monastery on Kom H and Church B.V on the citadel, unearthed during both the previous and the present seasons.

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Problems and solutions in dating Nabataean pottery of the post-annexation period

Problems and solutions in dating Nabataean pottery of the post-annexation period

Author(s): Tali Erickson-Gini / Language(s): English Issue: XXX/2021

In the desert regions of the Southern Levant, the dating of Nabataean sherds and vessels is a critical factor in determining the dates of archaeological strata, architecture, and even entire sites. In recent years, archaeologists working at Petra and related sites have tended to date most Nabataean sherds and vessels to the 1st century CE based on the proposed typo-chronology of the Swiss–Liechtenstein excavations at ez-Zantur in Petra, published by Stephan G. Schmid (2000). Accepted typo-chronologies must withstand scrutiny and can override imposed historical frameworks. However, an uncritical reliance on the ez-Zantur chronology has created an artificial gap in the material record of Petra and other Nabataean sites in the post-annexation period, that is to say, the 2nd and 3rd century CE. This paper provides a critique of the Nabataean fine-ware typo-chronology from ez-Zantur, based on finds from other excavations and sites, and proposes a revised chronology in which the production of Nabataean pottery, including painted and unpainted fine wares, unguentaria and lamps, continues unabated throughout the Middle Roman period until sometime in the first half of the 3rd century CE. The revised typo-chronology evinces a robust period of Nabataean culture at Petra and other related sites under Roman rule, like that found in other cities of the Roman East.

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The House of Aion in Nea Paphos: seat of an artistic synodos?

The House of Aion in Nea Paphos: seat of an artistic synodos?

Author(s): Elżbieta Jastrzębowska / Language(s): English Issue: XXX/2021

The article presents some archaeological observations based on recent publications and the author’s survey in situ of the so-called “House of Aion” at Nea Paphos in Cyprus. The archaeological context (coins and pottery) dates the last phase of this building to the 320s, its partial destruction to the earthquake of 332/342, and its final annihilation by another quake to 365. The much-discussed mosaic with mythological decoration in the triclinium and the newly analyzed wall paintings in one of the rooms (No. 7), preserving the figures of Apollo and three of the Muses, are typical decorative elements of late antique Roman elite houses. And yet, the layout of the building, the triclinium located at the entrance to the house, and the presence of two rooms with a wooden floor, laid over an earlier water cistern converted into a cellar, possibly a treasury, suggest that the function of the complex was not residential at all. Indeed, the close proximity of the “Villa of Theseus”, which was rebuilt in the same period and converted into the praetorium of the governor of the island in the first half of the 4th century, suggests that the so-called “House of Aion” could have been the seat of a Roman association, probably a synodos of Dionysiac artists (ex-technitai) who presented themselves in the theater of Paphos. Therefore, it would be better to call this building the Synodeion of late Roman Cyprus.

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Nicoleta Hegedüs, Csaba Horváth, Vlad Popovici (editori), Portrete de ofițeri de origine română din Armata de Honvezi (1868-1918)

Nicoleta Hegedüs, Csaba Horváth, Vlad Popovici (editori), Portrete de ofițeri de origine română din Armata de Honvezi (1868-1918)

Author(s): Sorin Cristescu / Language(s): Romanian Issue: 5-6/2021

Review of: Nicoleta Hegedüs, Csaba Horváth, Vlad Popovici (editori), „Portrete de ofițeri de origine română din Armata de Honvezi (1868-1918)“, Editura Mega, Cluj-Napoca, 2020.

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