Journal articles on the topic 'Artists – Italy – Rome'
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1
Holwerda, Joslin. "Art in Early Modern Italy: Artemisia Gentileschi and Caravaggio." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 122–49. http://dx.doi.org/10.26522/gbuujh.v3i0.1673.
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This paper compares the careers of two internationally known painters from seventeenth century Rome, one male and one female, to further understand the broader gender relations of early modern Italy. Michelangelo Merisi da Caravaggio and Artemisia Gentileschi are individually known for being Italy’s greatest painters of the Baroque period. As artists, the professional challenges that they faced exemplified the dichotomy between genders in the early modern period. While Caravaggio’s controversial art style and violent lifestyle did not hinder his success, Gentileschi faced persistent apprehension and criticism by her contemporaries, solely because she was a woman working in an almost exclusively male profession. The professional restrictions and limitations that were experienced by female artists in the seventeenth century are represented in the career and reputation of Artemisia Gentileschi. By comparing the art, careers, and reputations of Rome’s most notable painters, this paper offers insight into how art is representative of gender and gender relations in early modern Italy.
2
Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.
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The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.
3
Armstrong, T. D. "An Old Philosopher in Rome: George Santayana and his Visitors." Journal of American Studies 19, no. 3 (December 1985): 349–68. http://dx.doi.org/10.1017/s0021875800015322.
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Rome after the Second World War presented something of an anomaly. Of all the traditional capitals of European civilization it was the least affected by the conflict. Because of the Pope's presence, it had not been bombed, and it had escaped the heavy fighting in the campaigns to the south. Indeed, so easily was it taken that one film was to show the Eternal City captured by a single jeep. Italy was also faster to recover than any of the other combatants. American money flooded into the country, and political life was quickly under way again. All this made it a good place for visitors, a relative bright spot amidst a shattered landscape. Harold Acton, the English historian who went there in 1948, remarked that “After the First World War American writers and artists had migrated to Paris: now they pitched upon Rome.” Among those who visited Rome or lived there for a period after the war were Edmund Wilson, Gore Vidal, Tennessee Williams, Frederic Prokosch, Daniel Cory, Alfred Kazin, Samuel Barber, Robert Lowell and Elizabeth Hardwick (slightly later), as well as Acton himself and a host of less well-known figures. Many were entertained by Lawrence and Babel Roberts, under whose influence “the Roman Academy became an international rendezvous for artists and intellectuals.” While they were there, a large proportion of these writers made a pilgrimage to the Convent of the Blue Sisters, where since 1941 George Santayana had been living in a single room.
4
Tracz, Szymon. "Italian Inspiration for the Painting Decorations by Maciej Jan Meyer from the First Half of the Eighteenth Century in Szembek Chapel at the Cathedral in Frombork." Perspektywy Kultury 30, no. 3 (December 20, 2020): 151–78. http://dx.doi.org/10.35765/pk.2020.3003.11.
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The Bishop of Warmia, Krzysztof Andrzej Jan Szembek from Słupów (1680– 1740), erected a domed reliquary chapel devoted to the Most Holy Savior and St. Theodore the Martyr (Saint Theodore of Amasea) at the cathedral in Frombork, also known as Szembek Chapel. The entire interior of the chapel is covered with frescoes dating from around 1735 by Maciej Jan Meyer (Matthias Johann Meyer) from Lidzbark Warmiński. Educated in Italy, the artist made polychrome decorations in the style of illusionistic architectural painting known as quadrature. In the lower part of the chapel stand busts of saints and the entire figure of St. Theodore of Amasea; in the cupola of the dome is the adoration of the Holy Trinity and the Holy Cross by the Mother of God and the Saints. Using the comparative method, I discuss the decoration of the chapel in the context of quadrature painting, which was developing in Italy and then in Central Europe, especially at the end of the 17th and the first half of the 18th centuries. Influential artists who played an important role for Polish quadratura techniques were Andrea Pozzo (1642–1709) and painters who came from Italy or studied painting there, such as Maciej Jan Meyer. I also show the prototype for the decoration of the chapel’s dome, namely, the frescoes from 1664–1665 by Pietro Berrettini da Cortona in the dome of Santa Maria in Valicella in Rome, as well as for medallions with busts of saints modeled on the structure of the main altar from 1699–1700 in the Church of the Holy Cross in Warsaw, funded by Meyer’s first patron, Bishop Teodor Potocki, primate of Poland.
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Bender, Agnieszka. "Zofia Katarzyna Branicka Odescalchi zwana pierwszym „polskim papieżem”." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 213–43. http://dx.doi.org/10.18290/rh20684-12s.
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Zofia Branicka (1821-1886) was a Polish wealthy noblewoman who married Italian Prince Livio III Erba Odescalchi (1805-1885) in 1841. From then on until her death she lived in Rome. Thanks to her opulent dowry, Odescalchi family could buy back among others, the Bracciano castle (near Rome) from the Torlonia family. Zofia was very well educated and a polyglot. From the very first years of her stay in Rome, she started to organise famous soirees at her salon in Palazzo Odescalchi. In this way Princess Zofi gathered the elite of aristocracy, diplomacy and the clergy, from diff European countries. Soon she had a possibility to get to know the pope Pius IX, with whom she would maintain a real and close friendship. Zofia had informed the pope about the complex situation of Poland, partitioned by her neighbours. From the beginning of her stay in Italy she was involved in charity work. The princess was very involved in financial and organisational help to Polish people in Italy (emigrees, insurgents, priests, artists as Cyprian Kamil Norwid, Leopold Nowotny, Roman Postempski etc.). She closely co-operated with The Congregation of the Resurrection of Our Lord Jesus Christ in organising the Polish Seminar in Rome in 1866. That was an event of a great importance for Polish people who at that time had no country of their own. Thanks to her deep religiosity and patriotic activity Princess Zofi was known among her contemporaries as “the Polish pope”. Nobody at that time could have imagine that after one hundred years Karol Wojtyła would become the first actual Polish pope.
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Rice, Louise. "Poussin’s Elephant." Renaissance Quarterly 70, no. 2 (2017): 548–93. http://dx.doi.org/10.1086/693181.
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AbstractNicolas Poussin’s “Hannibal Crossing the Alps,” long considered one of his earliest surviving works, is here recognized as a portrait of a historical elephant who visited Rome in 1630 and re-dated accordingly. The article tells the story of this remarkable animal. It traces his passage from South Asia through Portugal, Spain, England, France, the Netherlands, Germany, Austria, Italy, and back again to France, and examines his encounters along the way with kings and courtiers, scholars, artists, and traveling showmen, giving insight into the diplomatic and economic uses of exotic animals in early modern Europe. Finally, returning to Poussin, it addresses the implications of the re-dating of the “Hannibal” for our understanding of the painter’s stylistic development and biography.
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Swist, Jeremy. "‘Wolves of the Krypteia’: Lycanthropy and right-wing extremism in metal’s reception of ancient Greece and Rome." Metal Music Studies 8, no. 3 (September 1, 2022): 309–25. http://dx.doi.org/10.1386/mms_00083_1.
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Metal’s pervasive (were)wolf motifs are key hermeneutics for the reception of classical antiquity by right-wing bands. Continuities of lupine themes and romanticization of Sparta and Rome exist between fascist Germany and Italy, contemporary far-right political and pagan organizations, and bands that combine these two subjects in a unique but consistent way. Also inspired by Nietzsche, Evola and social Darwinists, bands such as Der Stürmer, Kataxu and Spearhead trace their biological and spiritual ancestry to Sparta, emulating their lycanthropic militarism and racial terrorism. Bands such as Hesperia, Diocletian and Deströyer 666 utilize Roman wolf iconography to promote the destruction of civilization and return to ‘natural’ hierarchies. Like their fascist predecessors, these artists perpetuate patriarchal and racist distortions of both lupine behaviour and ancient Mediterranean civilizations. Such constructions nevertheless extend from the resonance of both wolves and classical antiquity with metal’s common themes of transgression, hypermasculinity, elitism and nostalgia for premodernity.
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Rabinovich, Irina. "Hawthorne’s Rome – A city of evil, political and religious corruption and violence." Ars Aeterna 9, no. 1 (June 27, 2017): 1–6. http://dx.doi.org/10.1515/aa-2017-0001.
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Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne situates his last completed romance, The Marble Faun. Hawthorne’s two-year stay in Rome in 1858-59 sets the scene for his conception of The Marble Faun. In addition to providing Hawthorne with the extensive contact with art and artists that undoubtedly affected the choice of his protagonists (Kenyon, a sculptor; Hilda and Miriam, painters), Italy exposed Hawthorne to Jewish traditions and history, as well as to the life of Jews in the Roman ghetto. Most probably it also aroused his interest in some of the political affairs in which Italian Jews were involved in the 1840s and 50s. This historical background, especially the well-publicized abduction and conversion of a Jewish child, Edgardo Mortara, in 1858 provides important political and cultural background for Hawthorne’s portrayal of Miriam in The Marble Faun.
9
Kaye, Richard A. "“DETERMINED RAPTURES”: ST. SEBASTIAN AND THE VICTORIAN DISCOURSE OF DECADENCE." Victorian Literature and Culture 27, no. 1 (March 1999): 269–303. http://dx.doi.org/10.1017/s106015039927115x.
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“I unreservedly confess, for myself, that I cannot leave my natural perception of what is natural and true, at a palace door, in Italy or elsewhere, as I would leave my shoes if I were traveling in the East. I cannot forget that there are certain expressions of face, natural to certain passions, and as unchangeable in their nature as the gait of a lion, or the flight of an eagle. I cannot dismiss from my certain knowledge such common-place facts as the ordinary proportions of men’s arms, and legs, and heads; and when I meet with performances that do violence to these experiences and recollections, no matter where they may be, I cannot admire them.”— Charles Dickens, Pictures from Italy (1846)IN HIS ACCOUNT of his 1844 trip to Rome, Charles Dickens expressed bewilderment that the martyrdom of St. Sebastian should have been so commonly exploited as a subject by Italian artists. The novelist took the opportunity to disparage the “indiscriminate and determined raptures” of certain critics of Renaissance painting as “incompatible with the true appreciation of the really great and transcendent works of art . . . Neither am I partial to libelous Angels, who play on fiddles and bassoons, for the edification of sprawling monks apparently in liquor.” Dickens concluded that representations of St. Sebastian did not “have very uncommon and rare merits, as works of art, to justify their compound multiplication by Italian painters” (195).1
10
Procesi, Monia, Giuseppe Di Capua, Silvia Peppoloni, Marco Corirossi, and Alessandra Valentinelli. "Science and Citizen Collaboration as Good Example of Geoethics for Recovering a Natural Site in the Urban Area of Rome (Italy)." Sustainability 14, no. 8 (April 8, 2022): 4429. http://dx.doi.org/10.3390/su14084429.
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Natural sites in urban spaces can have a key role in citizen well-being, providing fundamental ecosystem services to the population and assuring a multitude of benefits. Therefore, cities should guarantee a number of green areas and their conservation in time as an essential part of urban architecture. In this framework, cooperation between scientists, decision makers and citizens is critical to ensure the enhancement of green public spaces. Social and scientific communities are called to work in a tuned way to combine scientific knowledge and methods to local socio-economic contexts, driven by the values of geoethics. The Bullicante Lake case study, discussed in this work, represents an example of application of geoethical values, such as inclusiveness, sharing, sustainability and conservation of bio- and geodiversity. This urban lake in Rome appeared following illegal excavation works in 1992 and remained closed until 2016 favouring re-naturalization processes. Over time, this site was often threatened by pending actions for building. The aim of this study was to highlight how fruitful cooperation between science and citizens is able to transform a degraded urban area into a place of knowledge, recreation, enjoyment and eco-systemic preservation. Moreover, on the basis of this experience, the authors proposed a generalised approach/strategy to be developed and applied in other contexts. The active involvement of citizens and the cooperation among scientists, artists and institutions were able to redress opportunistic behaviours well by preventing site degradation and its improper use, favouring environmental safeguarding and making possible the site’s recognition as a natural monument. The results of these actions led to the improved quality of citizen life, showing an excellent example of virtuous cooperation between science and society.
11
Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." Revista Europeia de Estudos Artisticos 4, no. 3 (September 30, 2013): 42–61. http://dx.doi.org/10.37334/eras.v4i3.149.
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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peñacase, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.
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Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." Revista Europeia de Estudos Artisticos 9, no. 1 (March 30, 2018): 29–50. http://dx.doi.org/10.37334/eras.v9i1.166.
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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.
13
Cinelli, Noemi. "A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO." ERAS | European Review of Artistic Studies 9, no. 1 (March 30, 2018): 29–50. http://dx.doi.org/10.37334/eras.v9i1.45.
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It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.
14
Corke-Webster, James. "Roman History." Greece and Rome 67, no. 1 (February 28, 2020): 94–103. http://dx.doi.org/10.1017/s0017383519000287.
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Some questions never go out of fashion. My main focus in this issue is the spread of Roman power across the Mediterranean, with multiple new publications appearing on this oldest of subjects. First up is Dexter Hoyos’ Rome Victorious. This work of popular history aims to cover what Hoyos dubs in his subtitle The Irresistible Rise of the Roman Empire, though that is rather an odd choice, since Hoyos stresses that Rome's imperial efforts did not always succeed. Hoyos walks us through the unification of Italy and the acquisition of the Republican provinces in the first two chapters, taking the narrative up to the death of Caesar in 44 bc. The next two chapters consider the consequences of those conquests: what a province actually meant, how it was controlled, and the effects both on the new territories’ inhabitants and on Rome's social and political make-up. In Chapter 5, Hoyos turns to the extensive imperial efforts of Augustus and those around him; those of his successors over the next two centuries are dealt with in Chapter 6. Chapter 7 surveys the shifting make-up of the Romans as a result of their conquests, focusing on the spread of citizenship and the changing origins of senators, generals, and artists. Chapter 8 looks at legitimate and illegitimate rule in Rome's provinces, Chapter 9 considers both Rome's self-reflexivity on imperial questions and the view from those regions themselves, and Chapter 10 bolsters the latter by treating concrete resistance to Rome. Chapter 11 looks at the degree to which the provinces became Roman.
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Chalif, Eric J. "The Surgeon, or The Extraction of the Stone of Madness, by Jan Sanders van Hemessen (c 1500–1566)." Neurosurgical Focus 54, no. 2 (February 2023): E2. http://dx.doi.org/10.3171/2022.11.focus22613.
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The Surgeon, or The Extraction of the Stone of Madness is one of the most striking representations of neurosurgery in art. The focus of the painting is occupied by a surgeon who, with a concentrated gaze and wry smile, attempts to remove a stone from the forehead of an anguished young man who is tied to a chair, crying in agony. The artist of this dramatic work is the relatively obscure Jan Sanders van Hemessen (c 1500–1566). Hemessen lived in a time of artistic ferment in the Netherlands as conservative local traditions gave way to new ideas imported from Italy, which marked the beginning of the Romanism period. Romanists were aspiring young Netherlandish artists who traveled to Rome, Florence, Milan, and Venice to study the works of High Renaissance masters such as Michelangelo, Raphael, and Leonardo da Vinci. With these lessons in mind, they combined the typical features of early Netherlandish painting—a high degree of realism, the use of symbolic iconography, and a focus on genre painting and still life—with the dramatic gestures, heroic postures, chiaroscuro, space and volume, and grand humanistic themes of the Italian Renaissance. Hemessen’s interpretation of the allegory of the stone of madness reveals these Italian influences while also retaining the early Netherlandish tradition of realism and iconography, in which the objective world represents a realm of symbolic implication carrying allegorical moralistic messages. The predominant interpretation of The Surgeon, or The Extraction of the Stone of Madness is as a metaphor for stupidity and gullibility, a common theme in Netherlandish art of this time. As such, Hemessen’s painting symbolizes the limits of the medical profession and underscores the persistent hope for neurosurgery to treat psychiatric disease in the future.
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Ivonin, Yuriy. "Imperial Power Representation and Self-presentation of Charles V of Habsburg." Izvestia of Smolensk State University, no. 4 (56) (January 26, 2022): 252–59. http://dx.doi.org/10.35785/2072-9464-2021-56-4-252-259.
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The power representation was an important indicator of the political culture of the Early Modern Era. It required grandeur with solemnity and festivities. An important role in the policy of any state is played by the image that can influence the assessment of its power and wealth. Empire. He applied the experience of ancient Rome in the form of triumphs and
other mass spectacles. This phenomenon appears during the reign of Emperor
Maximilian I and Pope Julius II. The Emperor gained experience in creating tri-
umphs as the Habsburg dynasty’s sphere of influence expanded in Europe. Triumphs were organized in Spain and then in Italy. And obviously, these actions helped the Emperor to impress both opponents and allies. The Emperor promoted himself as a victorious commander and ruler. Power representation also manifested itself in a large number of portraits of
European rulers, including Charles V, painted by great artists, among whom Titian Vecellio stood out in particular. Besides, during the Reformation, a significant number of reformers’ portraits were painted by the apologists of Lutheranism. But the most striking episode of the representation of that time was viewed in the triumph of Charles V during the entry of both the Emperor’s supporters and the Lutheran leaders into the city of Augsburg before the Diet of Augsburg in 1530.
This tendency was very clearly manifested in the 16th century in the policy of Emperor Charles V of Habsburg, who sought to create a universal Catholic
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Shishkin, Andrei B. "The Plan for a Soviet Academy in Rome (1924): Viacheslav Ivanov, Anatoly Lunacharsky, Petr Kogan and Others." Literary Fact, no. 23 (2022): 55–99. http://dx.doi.org/10.22455/2541-8297-2022-23-55-99.
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In spring of 1924 Viacheslav Ivanov was invited to Moscow to participate in the June celebrations of the 125th anniversary of Aleksandr Pushkin’s birth. The months he spent in the capital reflect an unusually active social schedule. As his address book of the summer of 1924 indicates, he met with a wide range of people: composers and performers (Reinhold Glière, Mikhail Gnesin, Aleksandr Grechaninov, Aleksandr Goldenweiser, Nikolai Miaskovsky, Nikolai Medtner, Leonid Sabaneev), poets and prose writers (Valery Briusov, Iurgis Baltrushaitis, Andrei Globa, Vasily Kazin, Vladimir Lidin, Isaiah Lezhnev, Vladimir Nilender, Ivan Novikov, Sergei Poliakov, Ivan Rukavishnikov, Sergei Shervinsky, Anastasia Tsvetaeva), theater directors (Vsevolod Meyerhold, Aleksandr Tairov), literary scholars (Mikhail Gershenzon, Leonid Grossman, Viktor Zhirmunsky, Boris Eichenbaum), artists (Anatoly Arapov, Nikolai Ulianov, Nikolai Vysheslavtsev, Konstantin Yuon), priests and theologians (Sergei Sidorov, Pavel Florensky), art historians and museum curators (Count Valentin Zubov, Nikolai Mashkovtsev, Boris Ternovets, Abram Efros) and others. Many of these people were in one way or another connected to the activity of the State Academy for the Study of the Arts (GAKhN). It was in fact for GAKhN that Ivanov gave a series of well-received lectures. After receiving his passport to travel to Italy on 4 July 1924, Ivanov decided to postpone his departure for an entire month. It would seem that this delay was connected to the need to draw up a project for the creation in Rome of a Soviet State Institute for History, Archeology and Art History. The project was supported by Petr Kogan, the president of GAKhN, and by Anatoly Lunacharsky, the head of the People’s Commissariat of Enlightenment. The Institute was envisioned as an organization that would serve both researchers and students, following the models of the corresponding academies in Rome — the French Academy, the French School of Archeology, the German Archeological Institute, etc. As Ivanov formulated it in the first plan that he gave to Lunacharsky on 24 August 1924: “The absence of Russia in the arena where cultured peoples are jointly and competitively pursuing scholarly work and cooperating in advanced scholarly colloquy is a kind of voluntary exclusion from contemporary civilization and an indirect affirmation of false rumors about the decline of our culture.”
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Bruyn, J. "François Venant. Enige aanvullingen." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 163–76. http://dx.doi.org/10.1163/187501797x00195.
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AbstractSince J. G. van Gelder was able to identify a number of works by François Venant (1591/92-1636) in 1938 (note 2) and Kurt Bauch and Astrid Tümpel added to these one painting and a drawing (notes 14 and 3), the artist has been known as one of the so-called Pre-Rembrandtists. Together with his contemporaries Claes Cornelisz. Moeyaert (c. 1590/91-1655) and Jacob Pynas (1592/93-after 1650) he was one of the younger artists of this group. Its style was dominated by Pictcr Lastman (1583-1633) and Jan Pynas (1581/82-1633), both of whom underwent the influence of Adam Elsheimer during their stay in Rome. Venant married a younger sister of Lastman in 1625. The latter's influence on his work had however set in well before that year. Jacob's Dream, signed and dated 161(7?) (note 10, fig. 2) testifies to this, as well as showing traces of Elsheimer's influence, possibly transmitted by Jan Pynas (notes 12 and 13, fig. 3). A somewhat later signed work, David's parting from Jonathan (note 5, fig.1), closely follows Lastman's version of the subject of 1620 (note 6) though the grouping of the two figures may be taken as typical of Venant's personal style. In an unsigned picture of Gideon's Scacrifice, which may also be dated to the early 1620s (note 14, fig. 4), the artist once more makes use of motifs from various works by Lastman. Two undated drawings would seem to represent a slightly later stage in the artists's development. The Baptism of the Eunuch (notes 16 and 18, fig. 5) betrays the attempt to emulate Lastman's pictures on the subject, especially one of 1623 (note 17), by enhancing the dramatic actions in the scene, and so does Gideon's Sacrifice (note 20, figs. 6 and 8), which seems to be based on Lastman's Sacrifice of Monoah of 1627 (note 21, fig.7). To these works, spanning a period from 1617 (?) to the late '20s, may be added two more, another drawing and a painting. The drawing of Daniel at Belshazzar's Feast was formerly attributed to Lastman (notes 25-33, figs. and 10). While the technique, notably the use of wash, differs from that in the drawings mentioned above, the similarities to these in linear rhythm and conception are such that they may all be attributed to the same hand. The technical differences may be accounted for by assuming a slightly later date and, more particularly, a different purpose; whereas the other drawings were in all likelihood self-contained products, Belshazzar's Feast appears to be a sketch for a painting. The last phase of Venant's career seems to be represented by the largest painting known to us and the only one on canvas, Elisha Refusing Naäman's Gifts (note 34, fig. 11). It shows the artist disengaging himself from Lastman at last, possibly after the latter's death in 1633. While the composition is still reminiscent of his carlier work, here Venant seems to have made a fresh start by allowing study from life to play a more important role than before. The landscape differs radically from earlier backgrounds and may well have been influenced by Barholomeus Breenbergh, who returned from Italy around 1630 and whose influence may also be detected in the heavy wash that marks the Belshazzar drawing. The artist's further development was cut short by his untimely death, probably of the plague, in 1636.
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Churga, Yu. "THE INFLUENCE OF ANTHROPOCENTRISM ON THE WORK OF ARTISTS OF THE HIGH RENAISSANCE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 148 (2021): 71–74. http://dx.doi.org/10.17721/1728-2640.2021.148.12.
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The article describes a number of factors that influenced the work of artists of the High Renaissance, in particular the philosophical thought of this period and changes in the worldview of people of this era. The article focuses on the origins of anthropocentrism in the intellectual sphere. The author outlines how Italy became the center of new ideas and the center of their implementation. This article was conducted to explore the impact of the philosophy of anthropocentrism on the work of Italian artists (their goals, means and evolution of the concept of "artist"). In conclusion, we can observe how interest in human nature grows, and that corporeality is not only the outer shell of man, which limits it. Artists of this period tend to realism and do not abandon the image of man and discover a new aesthetic in it. At the beginning of the 15th century the artist saw his role and believed that he was serving nature, which would teach him everything he wanted, with enough effort, patience and resources. The artist proudly demonstrates his skills in depicting animals, plants, figures, beautiful robes and landscapes, he is no longer a modest executor of someone else's will.
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Van Den Boogert, C. "Habsburgs imperialisme en de verspreiding van renaissancevormen in de Nederlanden: de vensters van Michiel Coxcie in de Sint-Goedele te Brussel." Oud Holland - Quarterly for Dutch Art History 106, no. 2 (1992): 57–80. http://dx.doi.org/10.1163/187501792x00082.
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AbstractThe introduction and diffusion of Italian Renaissance forms in sixteenth-century Netherlandish art has usually been described as a process initiated by artists who travelled south, adopted the new style and reaped success after their return to the Netherlands. In giving full credit to the artists and considering this phcnomenon to be a process of artistic exchange in the modern sense, art historians have wrongly disregarded the historical circumstances that caused patrons' preference for the new style. The earliest use of Renaissance forms in the Low Countries on a large scale may be observed in the triumphal decorations of the 1515 Joyeuse Entrée of Charles of Hapsburg, the future emperor, in the town of Bruges. From that moment on, Renaissance forms were used abundantly in objects which served as a kind of propaganda for Hapsburg policy, such as church windows and chimney-pieces glorifying Charles v and the Hapsburg dynasty. Antique motifs fitted well in the imperialist visual language favoured by the Hapsburg dynasty and the Dutch nobles who supported its power politics. Derived from imperial Roman monuments, these forms unequivocally alluded to the absolute power of the ancient ancestors of the Holy Roman Emperor, thus legitimizing his authority. In the author's opinion this functional aspect is one of the main reasons for the ready acceptance and diffusion of the Renaissance style in the Low Countries. One of the first artists to travel from the Netherlands to Italy was the painter Michiel Coxcie (Malines 1499-1592). He stayed in Rome from about 1530 to 1538, painting several frescoes in Roman churches which brought him recognition among Italian colleagues. Only one example has survived: the fresco cycle in the chapel of St. Barbara in S. Maria dell'Anima, which he painted between 1532 and 1534. His mastery of the 'maniera italiana', which is evident in these paintings, is highly praised by Vasari, who met Coxcie in Rome in 1532. Vasari also states that Coxcie transferred the 'maniera italiana' to the Netherlands. Upon his return to Malines in 1539, Coxcie received several prestigious commissions, of which perhaps the most outstanding was to paint cartoons for the stained glass windows in the church of St. Gudule in Brussels, with its decoration of triumphal arches glorifying the Hapsburg dynasty. His ability to work in the high Renaissance style gained him the favour of Charles v and his sister, Mary of Hungary, governess of the Netherlands, who engaged him as a court painter. In the said series of Brussels windows, a remarkable change of style regarding the use of Renaissance forms is to be observed after Coxcie started supplying the cartoons in 1541. The windows completed between 1537 and 1540 had been made under the supervision of Bernard van Orley, allegedly Coxcie's teacher. They were rendered in an early Renaissance style characterized by the hybrid Italianate motifs that were in fashion during the 1520S and 1530s. Upon Orley's death in 1541, Coxcie was appointed his successor as cartoon painter for St. Gudule. The first window for which he was responsible, the window of John III of Portugal in the Chapel of the Holy Sacrament, exhibits a distinct caesura: the architectural decoration is high Renaissance in the Vitruvian or Serlian sense and the human faces and postures are derived directly from the examples of Raphael, Leonardo and Michelangelo. After careful perusal of the documents concerning the production of the windows and study of the stylistic differences between the windows made before and after 1541 (and the related preparatory drawings), one cannot but conclude that Michiel Coxcie was the initiator of the use of the high Renaissance style in the Brussels windows. Hitherto Bernard van Orley has been credited for this, on the assumption that he designed the whole cycle, including all its ornamental details and stylistic features. Although his contribution to the diffusion of the high Renaissance style in Netherlandish art was decisive, Michiel Coxcie's return to the Low Countries should not be regarded as the principal incentive for this process. The general predilection for this style to be found after 1540 could be a consequence of the impressive presence of Charles v and his retinue in the Netherlands during that year. The emperor, who came to quell the Ghent resurrection against the central government, brought with him the style that had been used in the triumphal decorations which accompanied his entries to Italian towns during the 1530S. The influence exercised on prevailing taste by the ephemeral monuments erected on the occasion of imperial entries must have been considerable, as the Brussels windows clearly show.
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Stakhevych, Halyna, and Natalia Kokhan. "Creativity of female artists in Italian fine arts of XV–XVII centuries." Culturology Ideas, no. 22 (2'2022) (2022): 46–62. http://dx.doi.org/10.37627/2311-9489-22-2022-2.46-62.
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The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work. It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.
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Constantin, Zamfir. "Florența ȋn timpul lui Lorenzo Magnificul." Hiperboreea A1, no. 12 (January 1, 2012): 40–47. http://dx.doi.org/10.5325/hiperboreea.1.12.0040.
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Abstract The ancient city of Firenze is, for more people, the most beautiful place from Italy. A active political life, a splendid architecture and great artists marks the history of this city. In Middle Ages, Firenze was conducted by the Medici's family. Bankers, politicians and patrons of artists they played a significant role in the history of the city, of Italy and even of the Europe. In this short article we do a little voyage in the Firenze ruled by Lorenzo the Magnificient.
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M'rani Alaoui, Malika. "Early Photography in the Rijksmuseum’s Collection: A Group of Glass Negatives from the Estate of Laurens Lodewijk Kleijn (1826-1909)." Rijksmuseum Bulletin 68, no. 1 (March 15, 2020): 5–29. http://dx.doi.org/10.52476/trb.9688.
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In 1999 a group of nineteenth-century glass negatives were transferred to the Rijksmuseum from the University of Leiden’s Print Room. The negatives came from the estate of the Dutch artist Laurens Lodewijk Kleijn (1826-1909), who also made them. Kleijn lived in Rome between 1851 and 1868, became interested in photography and began to experiment with the medium. While he was in Italy, he came into contact with Princess Marianne, who awarded him a number of commissions. He also looked after her sizeable collection, first in Rome, later in her museum in Erbach. As the curator, Kleijn photographed part of the collection and the museum’s interior. These photographs were used for a museum catalogue and for picture postcards. The Rijksmuseum’s glass negatives show a variety of artworks from the princess’s collection. There are more experimental shots, too, family photographs and portraits, and photographs of paintings by Kleijn and of his studio. Thanks to the surviving glass negatives – and the artist’s estate as a whole – it was possible to reconstruct his interesting life story and take a fresh look at the history of photography.
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Gammaitoni, Milena. "A Sociological Analysis of the Social Role of Female Artists during COVID-19." Intercultural Relations 7, no. 2(12) (December 21, 2022): 123–35. http://dx.doi.org/10.12797/rm.02.2022.12.09.
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During the pandemic, artists have created new works, initiated political actions and civil activism, supporting the health prevention policy with the “I stay at home” campaign, but also organizing, at a later stage, protest movements, in defence of the right to perform one’s work, broadening the criticisms to a macro vision: in defence of the environment and the weakest groups, against violence against women, increased by 30%, for aid to immigrants, in denouncing urban marginality (street art), and the depopulation of small towns. The lack of attention on the part of politics, in Italy, and in other European countries, has then generated real opposition movements, an exemplary case being the song “Danser encore,” whose lyrics expressed a protest against government-imposed restrictions, and which turned into flash mob events in many countries. The depoliticization of contemporary art, of which Yves Michaud wrote, is a past concept, because we can see artistic movements shifting towards the safeguarding of universal rights and duties, up to the latest interpretations of what justice is and how to overcome social inequalities according to the visions of Amartya Sen and Martha Nussbaum.
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Toni, Franco. "Antonio Canova’s drawings in the Rare Books Collection of the Istituto Superiore di Sanità Library (Rome, Italy)." Journal of EAHIL 15, no. 4 (December 10, 2019): 13–17. http://dx.doi.org/10.32384/jeahil15352.
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The paper aims to promote the knowledge of the extraordinary collection of anatomical subject drawings by Antonio Canova, the most important Italian neoclassic artist, owned by the National Institute of Health Library in Rome. The history of acquisition by the library and the analysis of their importance in the long career of the artist is also treated. A short story about the fortune of the drawings in the last 20 years completes the study.
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Simion, Aurelia. "Musical Instruments In Renaissance Paintings." Review of Artistic Education 22, no. 1 (June 1, 2021): 177–85. http://dx.doi.org/10.2478/rae-2021-0022.
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Abstract Art, the language of ideas and concepts, comprises a multitude of means of manifestation through sound, word, color, gesture, etc., between which there is often an interconnection. This article highlights some aspects of the aesthetics of the Renaissance period in which artists, starting from Italy, focused on realism and human emotion in art, but also on the interconnection between two arts - painting and music. In this sense, we turned our attention to identifying the symbolic role of the musical instruments of that period represented in paintings by some notable masters from Italy, Flanders and Germany.
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Love, Rachel E. "Talking Italian blues: Roberto Leydi, Giovanna Marini and American Influence in the Italian folk revival, 1954–66." Popular Music 38, no. 2 (May 2019): 317–34. http://dx.doi.org/10.1017/s0261143019000114.
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AbstractThis article examines how Roberto Leydi and Giovanna Marini, two important figures of the Italian ‘folk revival’, negotiated diverse American cultural influences and adapted them to the political context of Italy in the 1950s and 1960s. I argue that American musical traditions offered them valuable models even as many Italian intellectuals and artists grew more critical of US society and foreign policy. To explore this phenomenon in greater depth, I take as examples two particular moments of exchange. I first discuss American folklorist Alan Lomax's research in Italy and its impact on Leydi's career. I then examine how Marini employed American talking blues in order to reject US society in her first ballad, Vi parlo dell'America (I Speak to You of America) (1966). These two cases provide specific examples of how American influence worked in postwar Italy and the role of folk music in this process.
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Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.
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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in the field of contemporary theatre in Italy and on the connections between the current creation of digital promotional clips and the heritage of the Italian video-theatre. Through in-depth interviews with sixteen of the leading Italian companies, this research aims to bring out the role theatre trailers play for performance artists.
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Ropa, Eugenia Casini. "THE PERCEPTION OF ASJA LACIS IN ITALY: IMPACT ON THEATRE, EDUCATION, AND POLITICS." Culture Crossroads 8 (November 13, 2022): 132–38. http://dx.doi.org/10.55877/cc.vol8.170.
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The 1970s in Italy proved to be the time of both intense cultural renewal and growing political tension, followed by street fights and violent terrorism. The breaking of traditional social and cultural models and high achievements went hand in hand in this stormy environment, facilitated by both the desire of the individual to break free and collective creativity. The latter was sustained by left-wing intellectuals and artists. Also felt was the necessity to secure once again the leading role of theatre in culture and society. In 1976, left-wing editor Feltrinelli published the translation of Asja Lācis's memoirs into Italian, entitled "Professione - rivoluzionaria" (Profession - Revolutionist), with an introductory essay on agitprop theatre in the Weimar Republic by the author of the present paper. Those turbulent years were the fertile soil that ensured the positive perception of the book and its strong impact on theatre and education, as well as the political and cultural domains. The trespassing of officially established theatre boundaries, which developed the ideas of collectivism and overtness of the individual's life, was inspired by Asja's innovative experience - it encouraged numerous theatre artists to rediscover the ethical sense in their routine work.
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Srhoj, Vinko. "Ivan Meštrović i politika kao prostor ahistorijskog idealizma." Ars Adriatica, no. 4 (January 1, 2014): 369. http://dx.doi.org/10.15291/ars.509.
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Meštrović’s political activity, reflected in his sculpture and architecture, was closely tied to the idea of a political union of the South Slavs which culminated on the eve of and during the First World War. As a political idealist and a person who always emphasized that he was first and foremost an artist, Meštrović had no inclination for classic political activism which meant that he was not interested in belonging to any contemporary political faction. Since his political activism was not tied to a specific political party and since, unlike the politicians with whom he socialized, he did not have a prior political life, Meštrović cannot be defined either as a supporter Ante Starčević and an HSS man, or as a unionist Yugoslav and royalist. He was passionate about politics, especially during the time when the idea about a single South Slavic state took centre stage in politics, and he actively promoted this idea through his contacts with politicians, kings, cultural workers, and artists. He never acted as a classic politician or a political negotiator on behalf of a political party but as an artist who used his numerous local, regional and international acquaintances for the promotion of a political interest, that is, of a universal political platform of the entire Croatian nation as part of a Slavic ethno-political framework. Even within the political organization he himself founded, the Yugoslav Committee, Meštrović did not present a developed political manifesto but, being an artist and an intellectual, ‘encouraged the ideology behind the idea of unification through his activism and especially through his works’ (N. Machiedo Mladinić). The very fact that he was not a professional politician enabled him to ‘learn directly about some of the intentions of the political decision makers at informal occasions he attended as a distinguished artist, particularly in those situations when a direct involvement of political figures would have been impossible due to diplomatic concerns’ (D. Hammer Tomić). For example, he was the first to learn from the report of the French ambassador to Italy Camillo Barrera that Italy would be rewarded for joining the Entente forces by territorial expansion in Dalmatia. Equally known is Meštrović’s attitude towards the name of the committee because, unlike Trumbić and Supilo, he did not hesitate to use the word ‘Yugoslav’ in the name. He believed that a joint Yugoslav platform would render Croatian interests stronger in the international arena and that this would not happen had the committee featured ‘Croatian’ in its name and even less so if it started acting under the name of wider Serbia as Pašić suggested. Meštrović’s political disappointment in the idea of Yugoslavia went hand in hand with the distancing of Croatian and Serbian politics which followed the political unification. The increasing rift between him and the Yugoslav idea was becoming more and more obvious after the assassinations of Stjepan Radić and Aleksandar Karađorđević between the two Wars. His reserve towards the Republic of Yugoslavia, augmented by his political hatred of communism, was such that Meštrović never seriously considered going back to his native country and after his death, he did not leave his art works to the state but to the Croatian people. This article focuses on the most politicized phase in Meštrović’s work when he even changed the titles of the art works between displays at two different exhibitions: the works that bore the neutral names, such as ‘a shrine’, ‘a girl’, or ‘a hero’, at the 1910 exhibition of the Secession Group in Vienna were given the names of the heroes of the Battle of Kosovo the very next year and displayed as such in the pavilion of the Kingdom of Serbia at the exhibition in Rome. Special attention was given to the idea of the Vidovdan shrine, a secular temple to the Yugoslav idea, and the so-called Kosovo fragments intended to decorate it. The heightened controversy surrounds the sculpture and architectural projects Meštrović created during the period in which his political activism in the Yugoslav political and cultural arena was at its peak and he himself did not hide the intention to contribute to the political programme with his art works. This is why critical remarks which were expressed against or in favour of Meštrović’s sculpture during the early twentieth century are inseparable from the contrasting opinions about the political ideas from the turbulent time surrounding the First World War, and all of this, being a consequence of Meštrović’s political engagement, pulled him as a person into the political arena of the Croatian, Serbian and Yugoslav cause. The closest connection between Meštrović’s sculpture, architecture and politics occurred during his work on the Vidovdan shrine and the so-called Kosovo fragments. At the same time, there was a marked difference between Meštrović’s architecture which is eclectic and referential in its style and bears no political message, and sculpture which strongly personified the political programme based on the Battle of Kosovo and expressed in monumental athletic figures. Meštrović opposed the desire of the political establishment to depict his figures in national costumes so that they may witness ‘historical truth’ and, instead, continued with his idea of universal values and not historical and political particularism. Believing that only the passage of time could assess the historical protagonists best, he deemed that some of them would vanish while the others would remain, ‘so to speak, naked’ and acquire ‘supernatural dimensions’ (I.Meštrović). By depicting his figures as having torsos stripped of any sign of national identity, Meštrović wanted to provide them with a ‘general human meaning and not a specific one of this or that tribe’ (I.Meštrović). Aside from the Vidovdan Shrine and the Kosovo Fragments, the article discusses a number of other works onto which Meštrović grafted a political programme such as the Mausoleum of Njegoš on Mount Lovćen, the funerary chapel of Our Lady of the Angels at Cavtat, the equestrian reliefs of King Petar Karađorđević and ban Petar Berislavić, and the sculptures of the Indians at Chicago as ‘ahistorical’ pinnacles of his monumental Art Deco sculpture. The article argues that, based on the consideration of Meštrović’s ‘political’ sculpture, it can be said that the best achievements are found in the works in which political agendas and historical evocations (for example the caryatids, kings and bans, and even the portraits of Nikola Tesla and Ruđer Bošković) gave way to the naked ahistorical physis of a number of Kosovo heroes, female allegorical figures and, most of all, the pinnacle of the Art Deco equestrian sculptures of the Chicago Indians. What matters in the Chicago statues is the contraction of the muscles which accompany the movements of the Bowman and the Spearman and not the type of their weapons which are absent anyway, because this feature indicates that Meštrović focused on what he was best at: the naked human body relieved of the burden of costume, signs of civilization, and the pomp of political, ideological and historical attributes. This is why the politics of Meštrović’s sculpture is at its strongest when it is at its most general or, in other words, when it embodies an ideal and not a political pragmatism or a specific historical reality.
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Ciuffini, Silvia, and Giovanna De Lucia. "The System of Bilateral Bodies in the Artisan Sector: The Italian Experience in the Context of European Social Dialogue." International Journal of Comparative Labour Law and Industrial Relations 20, Issue 1 (March 1, 2004): 133–45. http://dx.doi.org/10.54648/ijcl2004007.
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Abstract: This report provides an outline of the system of bilateral bodies first set up in Italy in the 1980s to provide protection and income support for workers in artisan firms. Jointly run by employers’ associations and trade union representatives, these bodies provide a forum for dispute resolution as well as a system for administering the employers’ contributions negotiated in collective agreements. The authors argue that bilateral bodies represent an innovative approach to labour protection in small and micro enterprises and provide a useful means for identifying appropriate measures as part of a decentralised approach reflecting the needs of both employers and workers in artisan firms not covered by collective agreements for large-scale industry. Bilateralism is likely to play an increasingly important role pursuant to the labour market reform recently enacted in Italy.
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PRATO, PAOLO. "Selling Italy by the sound: cross-cultural interchanges through cover records." Popular Music 26, no. 3 (October 2007): 441–62. http://dx.doi.org/10.1017/s0261143007001377.
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AbstractSince the beginning of modern canzone, cover versions have represented a shortcut to importing and exporting songs across national borders. By breaking language barriers, these records have played the role of ambassadors of Italian music abroad and, vice-versa, of Anglo-American music at home. Although cover records mania boomed especially in the 1960s, the history of Italian popular music is disseminated by such examples, including exchanges with French- and Spanish-speaking countries as well. After reflecting on the nature of ‘cover’ and offering a definition that includes its being a cross-cultural space most typical of Italy and other peripheral countries in the age of early contact with pop modernity, the paper focuses on the economic, aesthetic and sociological paradigms that affect the international circulation of cover records and suggests a few theoretical explanations that refuse the obsolete ‘cultural imperialism’ thesis in favour of a more flexible view hinged upon the notion of ‘deterritorialisation’. In the final section the paper provides a short history of Italian records that were hits abroad, decade by decade, and ends by highlighting those artists that played the role of cultural mediators between Italy and the world.
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Sharma, Sanjay. "Hand wasting in Calumny of Apelles." Neurology International 1, no. 1 (September 9, 2009): 12. http://dx.doi.org/10.4081/ni.2009.e12.
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Renaissance painting from the early 15th to mid 16th centuries originated in the area of present-day Italy. Inspired by the works of ancient Greece and Rome, artist produced painting based on topographic observation and the idealistic body proportion. The most of the painting depicts human figure in perfect shape. Calumny of Apelles was painted by the Italian painter Sandro Botticelli. A dark male figure painted in center with bilateral symmetrical distal wasting of limbs and poor body frame. The unusual portrayal may also suggest use of live model suffering from lead toxicity and lead neuropathy.
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Mason, Peter, and José Pardo-Tomás. "Bringing it back from Mexico." Journal of the History of Collections 32, no. 2 (January 18, 2019): 225–37. http://dx.doi.org/10.1093/jhc/fhy062.
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Abstract I cinque libri delle piante of Pier’Antonio Michiel (1510–1576) are kept in the Biblioteca Marciana in Venice. Eleven of the 1,028 plant drawings contained in their five volumes stand out for their notable stylistic differences from the rest. The authors advance the hypothesis that these eleven drawings derive from the work of indigenous scribe-artists in the Valley of Mexico. In tracing the various series of copies of them that circulated between New Spain, the Iberian peninsula and Italy, they highlight the important role played in the production and transportation of copies by Marcantonio Da Mula (1506–1572), and suggest the Spanish nobleman Diego Hurtado de Mendoza (c.1503–1575) as the link between the Spanish court and Michiel’s native Venice.
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Cimino, Dafne, Raffaella Lamuraglia, Ilaria Saccani, Michela Berzioli, and Francesca Caterina Izzo. "Assessing the (In)Stability of Urban Art Paints: From Real Case Studies to Laboratory Investigations of Degradation Processes and Preservation Possibilities." Heritage 5, no. 2 (March 24, 2022): 581–609. http://dx.doi.org/10.3390/heritage5020033.
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Urban art as a shared expression of street art between artists, citizenship and municipalities has always had an important role in the social life and appearance of modern cities. However, the durability of urban and street artworks is susceptible to the degradation processes that the employed commercial paint formulations undergo once outdoors. These are complex mixtures of compounds, differently sensitive to environmental agents according to their chemical nature. Starting from the colorimetric analysis of murals created in 2010, 2011 and 2018 in Reggio Emilia, Italy, documenting their degradation already after a few months, this study aimed at understanding the stability of the most unstable paints used by the artists in these artworks. A multi-analytical approach evaluated the commercial products under the chemical point of view, after natural and accelerated ageing. Additionally, two manufactured anti-UV varnishes were evaluated for their possible use as coatings. The results pinpointed the weaknesses of the selected paints and highlighted how the application of an anti-UV coating might slightly affect the visual aspect of the artwork, though ensuring a greater resistance to the outdoor conditions due to their minor chemical sensitivity to environmental agents.
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Bertozzi, Marco. "Media architecture: Fellini’s Rimini, a town of the imagination." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 11–26. http://dx.doi.org/10.1386/jicms_00048_1.
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With this article, I would like to reflect on the role Fellini played in transforming the urban imagery of his hometown, Rimini, into something new. The idea that Fellini represents an ideal, the incarnation of a national character capable of representing twentieth-century Italy is already well known, even if not sufficiently studied. He is a director who becomes an icon of a way of being, of seeing, of imagining, which are internationally associated with a presumed national identity. The geocultural poles of this identity are Rimini, Rome and Cinecittà, and they express some antinomies rich with personal choices, of multiple belonging and full of psychological implications. The artist expresses a titanic mediation between the persistence of an ancient country and metropolitan evasions, in a negotiating process of anthropological and aesthetic tensions. In this article, I intend to analyse different moments of media expansion directly created by Fellini or born around Fellini. I will therefore try to redefine the reputation and the new public image of the native ‘borgo’ of the Italian Maestro.
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Guido, Luca. "“The Biennale of Dissent 1977” and Italian Architecture during the 1970s." AM Journal of Art and Media Studies, no. 12 (April 20, 2017): 17. http://dx.doi.org/10.25038/am.v0i12.164.
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In 1977, “The Biennale of Dissent” was a significant event in the history of the anti-Soviet dissidence. In Italy during the 1970s intellectuals, artists and architects had many connections with Marxist theories and the Soviet Union, but their role, referred to in this event, appears complex and, on occasions, contradictory. The Italian cultural world mirrored a political situation, in which it became a duty to take up a position which opposed Italy’s Fascist past. Artistic and political opinions coincided. For this reason, in Italy the culture of dissidence led to a heated debate. One generation of architects was born in this context and few were able to think outside the box. The interpretation proposed for Italian architecture and the masters of the time should prompt a consideration of the current absence of Italian critics and architects in international debates. Article received: December 16, 2016; Article accepted: January 13, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Guido, Luca. "'The Biennale of Dissent 1977' and Italian Architecture during the 1970s." AM Journal of Art and Media Studies 12 (2017): 17-28.
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Mezzadri, P., and J. Russo. "THE CASE OF CAPOGROSSI IN ROME: COLLECTING DATA WITH DIFFERENT TECHNOLOGIES ON A CONTEMPORARY MURAL PAINTING." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-5/W1 (May 15, 2017): 211–18. http://dx.doi.org/10.5194/isprs-archives-xlii-5-w1-211-2017.
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This paper focuses on the presentation of a part of the main thematic data documenting the pathologies and the degradation problems of a contemporary mural painting, which was designed and carried out by the italian artist Giuseppe Capogrossi in 1954. This forgotten masterpiece is developed on the ceilings of the main double stairscase at the entrance of the Airone, an ex-cinema-theatre in Rome (Italy). In time, the original project was completely damaged and now the Airone cinema is abandoned since 1999; the decoration, strictly connected to the function of the original project, has been completely covered by synthetic coatings. The documentation of the observed pathologies and the original materials of the lower ceiling takes place during a restoration project in 2015–2016 and was accomplished by utilizing different technologies in order to facilitate the collecting of the main data within several graphic thematic tables. The challenge of this documentation was to create a contact point, and perhaps also a contamination, between the practices of CAD graphic documentation, restoration and GIS technology.
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Ha, Sha. "An Intercultural Experience in European Art and Decorative Design by Chinese Students in Italy." Advances in Social Sciences Research Journal 9, no. 8 (August 31, 2022): 483–93. http://dx.doi.org/10.14738/assrj.98.12948.
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The paper describes the encounter with Italian fine arts and decorative design by a group of 17 Chinese Junior High School, art loving students, during their 2019 summer vacations. According to a ‘cooperative learning’ strategy, the students had been subdivided into four groups, under the guidance of four Chinese teachers, each one responsible for a single group, and the assistance of an Italian artist and an expert teacher herself. During the period of two weeks the students visited historical buildings and museums in the art cities of Venice, Padua, Florence and Rome. In the evening, in the presence of their teachers, they took part to collective discussions on the meaning and impact on them of the most significant art works they encountered during the day. They also took part, in Padua, in an animated ‘active learning’ session in Jewelry Design. That intercultural experience turned out to be very stimulating for those students: part of them included the study of classical art/decorative design in their high school curricula.
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Belyaev, Vasily, and Nina Makarova. "Portrait of Kirill Razumovsky by Pompeo Girolamo Batoni." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 338–49. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-338-349.
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The article analyzes the portrait of Count Kirill Grigoryevich Razumovsky, painted in Rome in 1766 by the famous artist Pompeo Girolamo Batoni. The portrait has features characteristic of portraits of travelers making the Grand Tour of Europe. In the second half of the 18th century, these were usually young aristocrats completing their education. Young people studied at the best universities; acquired extensive communication experience during their stay in major European centers; improved their skills in horseback riding, dancing and swordsmanship in famous academies, and also acquired knowledge of the art of antiquity by visiting Italy. In the portraits of travelers, Batoni emphasized the elegant dignity of the persons depicted; motifs of ancient architecture and sculpture of Rome testified to their good taste. Kirill Razumovsky also commissioned a portrait from the artist during his Grand Tour. However, the Russian count was already a mature man of 38 years old, who experienced a rapid rise in his youth, when he turned from a shepherd boy into a nobleman, and the collapse of hopes for receiving the hereditary title of hetman in Little Russia shortly before his Grand Tour. Comparison of Kirill Razumovsky portrait with the portrait of the young British traveler Thomas Dundas, which is close in composition, reveals the peculiarities of Pompeo Batoni’s work: by making only minor changes in the composition of the works, the painter skillfully conveyed the inner world of the depicted persons.
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Furlotti, Barbara. "The Court Artist in Seventeenth-Century Italy. Elena Fumagalli and Raffaella Morselli, eds. Kent State University European Studies 1. Rome: Viella, 2014. 246 pp. €29." Renaissance Quarterly 69, no. 1 (2016): 241–42. http://dx.doi.org/10.1086/686348.
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Cole, Janie. "Cultural Clientelism and Brokerage Networks in Early Modern Florence and Rome: New Correspondence between the Barberini and Michelangelo Buonarroti the Younger*." Renaissance Quarterly 60, no. 3 (2007): 729–88. http://dx.doi.org/10.1353/ren.2007.0255.
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AbstractThis study draws on the unpublished correspondence between Michelangelo Buonarroti the Younger, a Florentine poet and grandnephew of the artist, and the Barberini family, in an attempt to examine the wider concepts of cultural clientelism and brokerage networks in the early modern process of cultural dissemination (in the areas of literature, music, theater, painting, architecture, and science) in Florence and Rome. Reconsidering the definition and role of a Seicento cultural broker added to the traditional model of patron and client, it analyzes Michelangelo the Younger’s activity as broker, patron-broker, and broker-client in connection with such significant figures as Maffeo Barberini (the future Urban VIII), Galileo, and the painter Lodovico Cigoli, exploring the ways in which these roles supported his personal commitment to promote his family’s social status and revealing the fluidity of roles in the patronage system. By obtaining Barberini patronage for his theatrical works and public recognition of the mythology of his illustrious forebear, Buonarroti’s cultural brokerage supported these dynastic ambitions. Spanning nearly half a century, this archival documentation casts new light on a little-known, but significant, area of Italian social relations and suggests directions for further research on other Seicento cultural brokers and new definitions for a broader concept of cultural brokerage in early modern Italy.
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Vogel, Gerd-Helge. "Carl Julius Senff (1804–1832) – ein Kurzes Künstlerleben als Architekt, Zeichner und Grafiker." Baltic Journal of Art History 14 (December 27, 2017): 95. http://dx.doi.org/10.12697/bjah.2017.14.04.
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Carl Julius Senff was a talented artist with wide-ranging knowledge of art and architecture, who first received art lessons from his father Carl August Senff in Tartu. From 1823 to 1827, Carl Julius Senff studied philosophy at the University of Tartu and illustrated several publications while still a student. For example, in 1825 he published a textbook on perspective called Perspective für Landschaftsmaler zum Selbststudium.Although Carl Julius Senff’s life was cut short, he was still able to travel extensively. In 1829, he travelled to Jena for three years where he acquired a doctoral degree in philosophy. His earliest drawings also date from this period and, based on them, we can also partially reconstruct the route of his travels. From Jena, he travelled to Prague, Vienna and Munich. In 1831, he travelled to Italy where he lived in Rome. The young artist and scholar was destined to become the new professor of architecture at the University of Tartu but, unfortunately, Carl Julius Senff fell ill during his last trip and died in Milan.The article is based to a great degree on unpublished archival documents as well as the personal correspondence of Carl Julius Senff and his father Carl August Senff.
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Calaresu, Melissa. "Thomas Jones’ Neapolitan Kitchen: The Material Cultures of Food on the Grand Tour." Journal of Early Modern History 24, no. 1 (February 20, 2020): 84–102. http://dx.doi.org/10.1163/15700658-12342664.
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Abstract The Welsh painter, Thomas Jones, recorded in minute detail the prices, origin, and types of food and services for each day of his family’s stay in Naples from their arrival from Rome in 1780 to their departure for England in 1783. His “Italian account book” has not been studied before in any depth, except in relation to his activities as an artist. However, this “time-capsule” of a Grand Tour household provides an extraordinarily vivid entry into the material world of urban provisioning in one of the largest cities in eighteenth-century Europe, by linking the economy of the street to wider networks of provisioning from outside of the city. It also provides a better understanding of the extent of acculturation of British residents in Italy. Space, time, and the interconnectedness between the home and the street are central themes in this material culture analysis of food on the Grand Tour.
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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.
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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. And the secondary Es-dur subject is peaceful and lucid. There is the same entrancing serenity as in the lyrical theme of the E. Grieg’s Piano Concerto finale. In the first movement, the development is very short, and the recapitulation is abridged. It should be noted that G. Pierné refused to use the cadence of the soloist. The second movement is written in a three-part form with elements of variation and rondo. This light scherzo takes the listener away from the anxieties of previous movement. Every bar of this music, in which everything is made with elegant French taste, caresses the ear. The main theme, including the dotted rhythm, serves as a refrain that permeates the entire movement. The finale is distinguished by its developmental forcefulness and truly symphonic reach. So, the continuation of C. Saint-Saëns’s covenants is in the concentration of thematic material, the observableness of form, the rhetorical syllable, and rhythmic activity at the Pierné’s Piano Concerto. Scherzo-Caprice (1890) enriched the French miniature line. The image sphere of this opus is lucid lyrics, good-gentle jocosity, and solemnity. The melodic talent of the composer proved itself very convincing here. The theme of the waltz echoes the waltz episode from the Fantasy-Ballet in some details. Being written also in A-dur, it contains the upward melody moves with a passing VI# (fisis), and also diversions into the minor (cis-moll in Scherzo-Caprice, fis-moll in Fantasy-Ballet). At the turn of the century, the influence of C. Franck’s music was produced on the G. Pierné’s style. This is reflected in such works as the Symphonic Poem “L’An Mil” (1897), Violin Sonata (1900), oratorio “Saint François d’Assise” (1912), and Cello Sonata (1919). An appeal to the Symphonic Poem for piano and orchestra (1903) is also a clear sign of rapprochement with the late romantic branch (C. Franck, E. Сhausson). Here we see a departure of G. Pierné from the C. Saint-Saëns’s concert traditions, which he held before. In the Poem, such qualities as virtuosity, concert brilliance, and representativeness are somewhat leveled, which is caused with the narrative character of this work. Conclusions. During the “Renovation period” of French music, the piano and orchestra compositions experienced a real upsurge in its development. Composers began to turn more often not only to the Piano Concerto genre, but also to non-cyclic works – Fantasies, Poems, Rhapsodies, etc. G. Pierné contributed much to this branch along with C. Saint-Saëns, B. Godard, Ch.-M. Widor. In his Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, we find the continuation of C. Saint-Saëns’s instrumental traditions. This is manifested in the moderation of the musical language, the normative character of harmonious thinking, the absolute clarity of discourse, concern for the relief of the melodic line. In the Symphonic Poem, contiguity with the musical aesthetics of С. Franck is revealed, which is reflected in harmony modulation shifts, appeal to polyphonic technique, differentiated and more powerful orchestration.
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Berghaus, Günter. "Fulvia Giuliani: Portrait of a Futurist Actress." New Theatre Quarterly 10, no. 38 (May 1994): 117–21. http://dx.doi.org/10.1017/s0266464x00000282.
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Despite the importance of Italian Futurism to the modernist movement in Europe during the early inter-war period, it has suffered a bad press – initially because of its association with the emergent fascist movement, and more recently because of the feminist concern with apparently misogynistic elements in the writing of the acknowledged leader of the movement, F. T. Marinetti. However, Günter Berghaus argues that this is to ignore not only the roots of Marinetti's own anti-feminism – in contempt for the very aspects of subservient womanhood now condemned by feminists themselves – but also the support that Futurism enjoyed from a number of women artists in Italy at the time. Certainly, the early career of the actress Fulvia Giuliani affirms both her strong endorsement for and participation in the movement, and her contempt for women who passively accepted the roles assigned to them by the patriarchy. Günter Berghaus, who teaches in the Drama Department of the University of Bristol, here outlines Giuliani's role in the Futurist movement and documents it from previously unpublished sources.
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Roberts, Sean. "The Lost Map of Matteo de’ Pasti: Cartography, Diplomacy, and Espionage in the Renaissance Adriatic." Journal of Early Modern History 20, no. 1 (January 26, 2016): 19–38. http://dx.doi.org/10.1163/15700658-12342488.
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The sculptor Matteo de’ Pasti left Rimini in 1461 bound for Ottoman Sultan Mehmed ii’s court at Constantinople with gifts from Sigismondo Malatesta. When his ship stopped in Crete, Matteo was detained by the island’s Venetian authorities on charges of espionage. Contemporaries report that he carried with him a map, now lost, but assumed to be a strategically valuable one of the Adriatic. Discussions of Matteo’s mission claim that it attempted to supply the sultan with essential intelligence for an invasion of Italy. Yet, this spy story finds little confirmation in historical sources. Indeed, our knowledge of the map’s very existence derives from the reports of Sigismondo’s enemies. I examine this prominent embassy as a means to reconsider attitudes toward the utility of maps in the scholarly imagination and the role of art and artists in early modern diplomacy. Revisiting documentary evidence and the claims scholars have grounded therein, I explore how we have told the tale of this journey in ways that conform to our own shifting expectations, sometimes at the expense of fidelity to the sources at hand. Overwhelming focus on the absent map has obscured both Matteo’s role as envoy and the distinctive place of evidently skillful and delightful visual culture in this attempted exchange.
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Raffaelli, Lara Gochin, and Michael Subialka. "Introduction: D’Annunzio’s Beauty, Reawakened." Forum Italicum: A Journal of Italian Studies 51, no. 2 (March 23, 2017): 311–34. http://dx.doi.org/10.1177/0014585817698395.
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D’Annunzio’s uneven reception both within and outside of Italy is partially due to the close association between his work and Italian fascism. Yet his concept of beauty certainly exceeds the narrow confines of that association. His aesthetics is more than a (fascist) aestheticism. In this article we introduce the special issue on D’Annunzio’s beauty by articulating the complex, multifaceted role of the aesthetic in D’Annunzio’s works and thought. He idealizes art as a refuge against the levelling forces of modern capitalism, bourgeois society, democracy and massification. This positions him in between decadentism and modernism, on the one hand, and between the aestheticism of post-Kantian idealism and a heroic vision of nationalism, on the other. Ever an eclectic thinker and artist, D’Annunzio’s legacy remains rich, challenging, prolific: now, a century from the war in which he became a nationalist hero, is an ideal moment to return to the question of how these complex, conflicting elements emerge in D'Annunzio's seductive picture of beauty.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Ottenhausen, Clemens. "FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)." Artium Quaestiones, no. 32 (December 15, 2021): 89–112. http://dx.doi.org/10.14746/aq.2021.32.4.
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This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.