Journal articles on the topic 'Austria Sculpture'
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1
Trotsenko, Аnna. "Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 311–26. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292155.
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The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.
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Wardzyński, Michał. "From Red Ruthenia to Rawa Mazowiecka: the Works of the Anonymous “Master of Pełczyska” as a Contribution to the Geography of Rococo Sculpture in Mazovia." Ikonotheka 27 (July 10, 2018): 211–40. http://dx.doi.org/10.5604/01.3001.0012.2334.
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Current research on Rococo sculpture in Mazovia and northern Lesser Poland has not taken into consideration Lvov Rococo sculpture. A total of thirteen works by a yet unidentified woodcarving workshop, probably of Lvov provenance, was located at the intersection of these two artistic regions, in the vicinity of Końskie, Opoczno, Przysucha and Rawa Mazowiecka. Its activity, commenced after 1780 in Pełczyska near Wiślica, lasted until ca. 1800, when the reredoses and lesser works of sculpture in Studzianna-Poświętne, Skrzyńsko, Nowy Kazanów, Końskie, Gowarczów, Drzewica, Rawa and Regnów were created. In formal terms, the anonymous “Master of Pełczyska”, as an epigone of the Lvov school of Rococo sculpture, shows a far-reaching dependency on the style of sculptures similar to that in the side altar of the Virgin Mary of Dzików in Tarnogród, in the Zamoyski family fee tail. This reredos was indirectly attributed to master Franciszek Olędzki from Lvov (active since 1771, d. 1792). The oeuvre of the “Master of Pełczyska” constitutes the second-largest assembly of Lvov Rococo sculptures outside the historical Ruthenian lands of the Crown of Poland. At the current stage of research, the discussed works, located at the intersection of the former Sandomierz and Rawa voivodeships, indicate the maximal influential range of these remarkably mobile artists towards the north-west of the Crown of Poland. Their migrations were directly connected, on the one hand, with the artistic crisis that followed the First Partition of the Commonwealth in 1772 and the annexation of Lvov by Austria, and, on the other hand, with the liquidation of monasteries after 1780 and the termination of existing ecclesiastic commissions. The short-lived activity of this workshop in the vicinity of Rawa is an important contribution to the research on the mosaic of external influences on provincial late Rococo sculpture in the fourth quarter of the 18th century in Mazovia.
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Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.
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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.
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Piwowarczyk, Renata. "Seed micromorphology of central European Orobanche and Phelipanche (Orobanchaceae) in relation to preferred hosts and systematic implications." Australian Systematic Botany 28, no. 3 (2015): 124. http://dx.doi.org/10.1071/sb15007.
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Holoparasitic genera within family Orobanchaceae are characterised by greatly reduced vegetative organs; therefore, seed micromorphology has proved to be a useful complementary taxonomic criterion. Seeds of 160 samples from 54 localities of 26 taxa of the Orobanche and Phelipanche genera occurring in central Europe, specifically from Poland, the Czech Republic, Austria and Slovakia, supplemented by samples from Spain, France and Ukraine, were investigated using scanning electron microscopy. Thirteen quantitative or qualitative morphological characters of seeds were analysed. The following three types of periclinal wall sculpture of seeds were identified: veined and fibrillar in Phelipanche; with oval or elliptic perforations (pitted) in almost all species of Orobanche; with outer periclinal wall smooth, granular or rugged (very rarely visibly pitted), impeding vision of the inner one, occurring only in O. gracilis Sm. and O. coerulescens Stephan in Willd. The influence of different hosts on the features of seeds of eight species is also presented, as well as relationships between seed morphology and taxonomic classification, including problematic taxa. The best diagnostic features include type of ornamentation of the periclinal wall, perforation diameter (in pitted sculpture), fibrillar diameter (in fibrillar sculpture) and width of anticlinal walls. Size and shape of the seeds and cells and the presence of median troughs are variable; however, these features can be helpful when using larger samples. The usefulness of micromorphological studies on seeds of Orobanche and Phelipanche is demonstrated.
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Van Bussel, Gerard W. "The Visualization of Native-American Peoples in a Late-Nineteenth-Century Sculpture Program in Vienna, Austria." American Indian Culture and Research Journal 31, no. 3 (January 1, 2007): 99–119. http://dx.doi.org/10.17953/aicr.31.3.03787x3q88214611.
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Stoner, Joyce Hill. "Connecting to the World's Collections: Making the Case for the Conservation and Preservation of Our Cultural Heritage." International Journal of Cultural Property 17, no. 4 (November 2010): 653–54. http://dx.doi.org/10.1017/s0940739110000378.
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Sixty cultural heritage leaders from 32 countries, including representatives from Africa, Asia, the Middle East, South America, Australia, Europe, and North America, gathered in October 2009 in Salzburg, Austria, to develop a series of practical recommendations to ensure optimal collections conservation worldwide. Convened at Schloss Leopoldskron, the gathering was conducted in partnership by the Salzburg Global Seminar (SGS) and the Institute for Museum and Library Services (IMLS). The participants were conservation specialists from libraries and museums, as well as leaders of major conservation centers and cultural heritage programs from around the world. As cochair Vinod Daniel noted, no previous meeting of conservation professionals has been “as diverse as this, with people from as many parts of the world, as cross-disciplinary as this.” The group addressed central issues in the care and preservation of the world's cultural heritage, including moveable objects (library materials, books, archives, paintings, sculpture, decorative arts, photographic collections, art on paper, and archaeological and ethnographic objects) and immoveable heritage (buildings and archaeological sites).
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Piwowarczyk, R., A. T. Halamski, and E. Durska. "Seed and pollen morphology in the Orobanche alsatica complex (Orobanchaceae) from central Europe and its taxonomic significance." Australian Systematic Botany 27, no. 2 (2014): 145. http://dx.doi.org/10.1071/sb14013.
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Micromorphology of seeds and pollen of Orobanche alsatica, O. bartlingii and O. mayeri, the central European representatives of the O. alsatica aggregate (Orobanchaceae) was investigated on the basis of 32 samples from 18 localities in Poland, Slovakia, Czech Republic, Austria, Bosnia and Herzegovina, and Russia. Concerning seeds, the best taxonomic character is a narrow trough on external sides of radial walls of cells of the seed wall, which is always present and continuous in O. bartlingii, mostly absent in O. mayeri, and mostly present solely at wall segment junctions (vertices) in O. alsatica (individuals parasitising Peucedanum spp.; continuous in parasites of Seseli osseum). As for pollen, the exine sculpture is verrucate in O. mayeri, granulate in O. bartlingii, and granulate to scabrate in O. alsatica. O. alsatica parasitising Peucedanum spp. and Seseli osseum (host-related morphotypes) differ in seed shape, ornamentation and wall-perforation diameter. Variability of seed and pollen characters is high, and identical morphologies occur among the investigated species. The variation coefficient is too strongly correlated with the sample size to be a reliable estimator the taxonomic value of a character. Differences in seed and pollen sculpture, hosts and ecological preferences confirm the separation of the three examined taxa at species level.
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Bondar, Pavlo. "Lviv sculptor Hartmann Witwer and his artistic family from Imst. New archive find and studies." Bulletin of Lviv National Academy of Arts 50, no. 50 (June 30, 2023): 23–29. http://dx.doi.org/10.37131/2524-0943-2023-50-1-5.
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Basing the information of the metric books from the church of the Assumption of the Virgin in Imst (Austria) the Hartmann Witwer date of birth – 22 December 1776 – was specified. Special gratitude is paid to Josef Mair for his assistance in catching out this document that is published for the first time. It was proofed that “Hartmann Witwer” is a true name and surname of sculptor from Austria, who worked in Lviv at the beginning of the XIX century. It was studied out that H. Witwer didn’t have second name as his father Joseph Anton Witwer or his brother Johann Michael Witwer. Using mathematic calculation the mistakes in Lviv documents fixed the date of sculptors’ death as 1825 was find out. The found certificate verified relationship of Hartmann Witwer and Witwer sculptors dynasty from Imst. For the first time it was revealed that Hartmann Witwer was a younger brother of Johann Michael Witwer, and he was not his elder brother or they were not twins as it was considered before. History of Witwers’ artistic family from Imst, members of which during more than one hundred years were making sculptures in the atelier that was inherited from father to son was studied. Directions of sculptural activity of H. Witwers’ grandfathers in the period of their activity and the areal of spreading their works were outlined. Artistic peculiarities of art pieces of the prominent representatives of the family were highlighted. Provably reasons which caused the end of the sculptor dynasty were analyzed in the article. Basing on the special features of the creative process in the family atelier in Imst the hypothesis of principles of cooperation between Hartmann and his brother Johann Michael Witwer in Lviv was proposed.
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Thøfner, Margit. "Of Elephants and Harmony: Memory, Knowledge and Pleasure in the Joyous Entry of Albert of Austria and Isabella of Spain into Antwerp." CHEIRON, no. 1 (February 2022): 39–67. http://dx.doi.org/10.3280/che2021-001003.
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This essay is about a sculpted elephant set on a wheeled base, an early modern festival float belonging to the city of Antwerp in present-day Belgium. Twice a year, during civic processions known as ommegangen, this float was paraded through the streets of Antwerp. However, on 10 December 1599, the civic authorities deployed the elephant as a stationary pageant, to form part of a different festival, the Joyous Entry of the Infanta Isabella Clara Eugenia and her husband, Archduke Albert of Austria. This article explores the many roles and resonances pertaining to this specific use of the float. The article is therefore a detailed case study of how one Habsburg subject city deployed one particular sculpture within urban pageantry to articulate and negotiate its often fraught relationship to its overlords and its position within the broader Luso-Hispanic Empire. At the same time, I show how the Antwerp urban elite drew on diverse forms of knowledge - historical, geographical, dynastic, scientific, musical and religious - to address and, to a certain extent, domesticate their courtly visitors.
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Zenz, Katharina, Herbert Zettel, Michael Kuhlmann, and Harald W. Krenn. "Morphology, pollen preferences and DNA-barcoding of five Austrian species in the Colletes succinctus group (Hymenoptera, Apidae)." Deutsche Entomologische Zeitschrift 68, no. 1 (February 2, 2021): 101–38. http://dx.doi.org/10.3897/dez.68.55732.
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Most species of the Colletes succinctus group sensu Noskiewicz, 1936 are taxonomically uncertain. This study has chosen an integrative approach, including pollen analysis, morphology, male genitalia, morphometry, cuticle sculpture and DNA-barcoding (CO1) to investigate the five species that were reported from Austria. It includes a detailed analysis of the male genitalia and the first description of the C. pannonicus male. A syntype male from the island of Crete was designated as the lectotype of Colletes succinctus brevigena Noskiewicz, 1936 to fix the species identity. New distinguishing characters were found: in females the shape of the dorsal end of the fovea facialis and, in both sexes, the structure of maxillary palpi, as well as the different puncturation on the mesopleura. Unknown structures on sterna and genitalia of the males proved to be reliable morphological characters. An identification key is provided for all studied species. Morphometry of females did not allow a clear distinction of species. CO1 sequencing confirmed previous studies that only C. collaris clearly deviates from the other species, including C. pannonicus that was analysed for the first time. Pollen analysis showed polylectic, as well as oligolectic, pollen-collecting behaviour. The collected pollen of C. pannonicus confirmed the field observations that this species is strictly oligolectic on Tripolium pannonicum. Due to pronounced intraspecific variation, it is assumed that the species of the C. succinctus group are either species in statu nascendi or very young species. Therefore, it remains important to include ecological data in species identification.
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Naie, Lăcrămioara. "4. Project “Easter Triptych”." Review of Artistic Education 1, no. 23 (April 1, 2022): 34–39. http://dx.doi.org/10.2478/rae-2022-0004.
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Abstract The “Easter Triptych” project was conducted in six annual editions (except for 2020 and 2021 – the years of the Coronavirus Pandemic). It was conceived and achieved in the name and in the spirit of the three important moments in the history of our humanity: Birth, Passion and Joy of the Resurrection of our Savior Jesus Christ. This great religious cultural project was attended by important personalities of Iaşi and not only, such as lyrical artists from the Romanian National Opera Iaşi, church persons from the Metropolitan Church of Moldavia and Bukovina, university professors, ethnographers, craftsmen and students. We were joined by Radio Romania Cultural Bucharest, Radio Iasi, TV Iasi, Radio “Trinitas” and “Moldova” National Museum Complex Iasi. With this important project, I also went to Austria, Vienna, to the Romanian Cultural Center and to the Republic of Moldova, to “Alecu Russo” State University Balti. Each edition presented under its generous scope, equally traditions, customs and beliefs firmly established in our soul and conscience as Romanians. The events included moments of musical art: classical musical works (lyrical, instrumental, choral), Christmas carols, Easter songs, religious poems, book launches, exhibitions of decorated eggs from the Bukovina area, exhibitions of icons, crosses, carpets woven in monasteries, ceramic objects from Horezu, wooden sculpture objects and traditional folk costumes. In addition to these, there was a CD: “Easter Triptych”.
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Pilkevych, Viktoriia. "Cultural and Natural Sites of Europe According to UNESCO List of World Heritage in Danger." European Historical Studies, no. 12 (2019): 125–35. http://dx.doi.org/10.17721/2524-048x.2019.12.125-135.
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The author studies UNESCO’s activities in the cultural sphere, especially the protection and preservation of cultural heritage around the world. There is World Heritage List. Sites must be of outstanding universal value and meet the special criteria to be included on this List. Countries are trying to include their cultural objects for protection. Cultural heritage is architectural works, works of monumental sculpture and painting, elements or structures of an archaeological nature groups of buildings which are of outstanding universal value. The World Heritage Committee is responsible for the implementation of the World Heritage Convention («Convention Concerning the Protection of the World Cultural and Natural Heritage»,1972), gives financial assistance and decides on the listing or deletion of properties in the List of World Heritage in Danger. The List of World Heritage in Danger informs the international community of threat and to encourage corrective action. Special attention was given to European cultural and natural sites which are in this list. These are sites in Serbia (Medieval Monuments in Kosovo (2006)), United Kingdom of Great Britain and Northern Ireland (Liverpool – Maritime Mercantile City (2012)), Austria (Historic Centre of Vienna (2017)). This article focuses on the reasons for listing in the List of World Heritage in Danger (different conflicts, war, natural disasters, pollution, poaching, uncontrolled urbanization, tourist development etc.). Author outlines problems of protection world cultural heritage that need to be solved in the future. International community can help in this problem because each site in World Heritage List has outstanding universal value in our life. The author emphasizes on high importance of cultural sphere of the UNESCO’s activities.
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Brien, Donna Lee. "The Bondi Mermaids, Lyall Randolph and Bondi Beach 1960–2023." Australasian Journal of Popular Culture 12, no. 2 (December 1, 2023): 201–19. http://dx.doi.org/10.1386/ajpc_00079_1.
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This article focuses on two aspects of popular culture. Principally, the article presents a history of a popular sculpture erected at Australia’s Bondi Beach in 1960. The narrative follows the genesis of the work, its removal, and subsequent attempts to restore the sculpture at different locations on Bondi Beach and in the adjacent Bondi Park. Based on archival research and material from the popular press, the article offers the first thorough account of the sculpture, highlighting debates around its form, its popularity with local residents, the often-overlooked significance of the work as a tourist attraction, and decades-long efforts to restore the work. Secondly, the article identifies the sculpture’s creator, Lyall Randolph, as an artist who enjoyed popular appeal in Australia at this time, despite never reaching the status of an ‘elite’ artist. Investigating the place of a popular artwork in the cultural and social history of Australia’s most iconic beach, the article contributes to both Bondi and Sydney’s eastern suburbs’ local history and knowledge about popular Australian artists.
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Boychuk, Vitaliy, Volodymyr Umanets, and Fu Guan. "PREPARATION OF FUTURE TEACHERS OF ART AND ART DISCIPLINES WITH THE HELP OF INNOVATIVE TECHNOLOGIES IN EDUCATION." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 10 (2021): 33–42. http://dx.doi.org/10.28925/2414-0325.2021.104.
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During the writing of the article, we analyzed the domestic and foreign experience in implementing STEAM approaches in the educational process of educational institutions. The article considers the issues of modern STEAM strategy - education, which is successfully developing in our time, which is the result of the integration of science and art, as a result of which scientific technologies are born. Some historical and pedagogical aspects of this problem are analyzed. Attention is drawn to the five components of STEAM-education: S - science (natural sciences), T - technology (technology), E - engineering (engineering art), A - art (creativity) and M - mathematics (mathematics) and emphasis on the importance of the artistic component in the interdisciplinary formation of a holistic personality. The results of separate researches of domestic and foreign scientists are covered. Approaches to the implementation of such educational standards in the United States and Austria, other EU countries are analyzed. It is determined that for pedagogical representatives, in particular, future teachers of art disciplines, the introduction of STEAM helps to increase their own level of professionalism, improve the quality of the educational process, reduce preparation time, allows to make a radically new job. Artistic and creative activity is an important indicator of the formation of the creative personality of the student, a special role in relation to artistic activity is played by the development of artistic perception when acquainted with works of painting, graphics, sculpture, arts and crafts. This acquaintance can take various forms, including the use of modern information technology and STEAM-approaches. We concluded that a comprehensive understanding of scientific problems, creative and engineering approach to their solution, critical thinking, the ability to process data representing figurative and symbolic objects; the ability to analyze several data streams simultaneously, the integrated application of scientific and artistic methods of cognition contributes to the development of all important competencies of future professionals.
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Kroesen, Justin. "Peter Dinzelbacher, Köpfe und Masken. Symbolische Bauplastik an mittelalterlichen Kirchen, Salzburg: Verlag Anton Pustet, 2014, 192 pp., 177 b/w ill., some in color." Mediaevistik 35, no. 1 (January 1, 2022): 409–11. http://dx.doi.org/10.3726/med.2022.01.73.
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Abstract Despite all the research done on medieval churches and their iconography, some important questions remain conspicuously unanswered. One of these concerns the meaning of the sculpted heads found in many churches around portals and windows, on capitals and consoles. Who and what do these enigmatic creatures represent, and how should their wider message be understood? This is the topic of a small but richly illustrated book written in German by the well-known Austrian historian of medieval mentality and religion, Peter Dinzelbacher. The point of departure, as is stated on the back cover, is the feeling of being observed by these head-shaped sculptures which often befalls us when we visit medieval churches. The author’s aim, stated on p. 7, is “to present and illustrate the symbolic medieval building sculpture in the city and region of Salzburg” (all translations by J.K.). Dinzelbacher points at the problem of the widely used term “mask” to describe such sculptures (although it is employed throughout the book, including in the title) as this suggests something that hides a person, whereas these representations rather seem to represent themselves. Instead, he proposes a French term borrowed from archaeology, “tête coupée” (severed head).
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Kostanjšek Brglez, Simona, and Boštjan Roškar. "Baroque furnishings in the Church of St. John the Baptist in Ljutomer." Kronika 70, no. 3 (November 10, 2022): 783–98. http://dx.doi.org/10.56420/kronika.70.3.10.
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The contribution discusses the Baroque furnishings the parish Church of St. John the Baptist in Ljutomer. Rather than the same period, the sculptural furnishings were produced between the end of the seventeenth and the end of the eighteenth centuries, with the current main altar built the last as the oeuvre of the Maribor-native sculptor Jožef Holzinger. Another known sculptor commissioned for the church in Ljutomer was Franz Abraham Schackhar from Leibnitz (Slo.: Lipnica), whose workshop constructed the Altar of the Holy Cross. An important written source for conducting research on the furnishings in the church is the manuscript chronicle that the priest Matej Slekovec compiled in 1896 by drawing on the no longer existing archival sources, kept in the parish house of Ljutomer. The contribution presents the pulpit and the altars in comparison to other, more or less contemporaneous altars in Slovenia and Austria, it assesses their quality and brings forth some archival data on their designers.
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Kostanjšek Brglez, Simona, and Boštjan Roškar. "Baroque furnishings in the Church of St. John the Baptist in Ljutomer." Kronika 70, no. 3 (November 10, 2022): 783–98. http://dx.doi.org/10.56420/https://doi.org/10.56420/kronika.70.3.10.
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The contribution discusses the Baroque furnishings the parish Church of St. John the Baptist in Ljutomer. Rather than the same period, the sculptural furnishings were produced between the end of the seventeenth and the end of the eighteenth centuries, with the current main altar built the last as the oeuvre of the Maribor-native sculptor Jožef Holzinger. Another known sculptor commissioned for the church in Ljutomer was Franz Abraham Schackhar from Leibnitz (Slo.: Lipnica), whose workshop constructed the Altar of the Holy Cross. An important written source for conducting research on the furnishings in the church is the manuscript chronicle that the priest Matej Slekovec compiled in 1896 by drawing on the no longer existing archival sources, kept in the parish house of Ljutomer. The contribution presents the pulpit and the altars in comparison to other, more or less contemporaneous altars in Slovenia and Austria, it assesses their quality and brings forth some archival data on their designers.
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Kluz, Paulina, and Józef Skrabski. "Francesco Placidi and Ludwig Ladislaus. On architect and sculptor partnership in the 1740s and 1750s." Folia Historica Cracoviensia 29, no. 2 (December 30, 2023): 121–67. http://dx.doi.org/10.15633/fhc.29205.
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Two artists, Francesco Placidi from Rome and sculptor Ludwig Ladislaus from Opava, played a significant role in Krakow artistic circles of the 1740s and 1750s. Placidi was brought to Poland by another Roman architect, Gaetano Chiaveri, under whose guidance he directed the construction of the court church in Dresden, and was active in Kraków since 1742. Ladisalus was first recorded in the records of the city of Krakow in 1741. The two lived in the same parishes, first All Saints’ and then St Mary’s, and were connected both socially and professionally. Following the study of sources and styles, it was determined that Placidi designed and Ladilaus executed the interior furnishings of the parish church in Morawica (c. 1748–55) funded by Aleksander August and Maria Zofia Czartoryski, the main altar in the Sanctuary of the Crucified Christ in Kobylanka (c. 1750) funded by Jan Wielopolski, and the main altar in the former collegiate church in Sandomierz (1756–57). A detailed investigation outlined the origin of architectural solutions defined by Placidi and captured the stylistic and formal features that Ladislaus’s sculptures share. The case is but a contribution to further research on the mutual relations between designers and makers of architecture and sculptures. Especially with respect to the roles of both the Italian architect imposing (or not) the general and/or detailed concept of the work, and the sculptor following (or not) the designer’s ideas, yet also contributing his own formal and stylistic solutions resulting from his individual artistic path of development (in the case of Ladislaus: in the Austrian Silesia). Beyond doubt, with his extensive contacts with ecclesiastical and secular aristocracy and the royal court, Placidi played an important role in Kraków, providing a link between artists of various professions, and maintaining familial and social contacts with some.
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Pivko, Daniel. "Litavský vápenec zo St. Margarethenu a Fertőrákosu a jeho využitie na Slovensku ako dekoračný kameň." Geologické práce Správy 138 (February 24, 2023): 95–118. http://dx.doi.org/10.56623/gps.138.4.
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In Western Slovakia, especially in the Bratislava region and Trnava region, Leitha limestone of the Badenian (Langhian – early Serravalian) age from St. Margarethen in Austria was widely used for architectural articles and sculptures (200 realizations), alternatively a similar limestone from Fertőrákos in Hungary. 380 tombstones were identified only in Bratislava cemeteries. From the second half of the 17th century to the first half of the 20th century, the limestones were one of the most used in Slovakia due to their light dressing and relatively homogeneous appearance. The strongly porous coarse-grained to medium-grained the Leitha limestone has the appearance of sandstone and is composed of a predominance of red algae nodules over foraminifers, sea urchin, moss and shell fragments. The rhodoliths, pectenoids and oysters are scattered in the Leitha limestones up to a few cm size, which distinguish the limestone type from other the Leitha limestones and similar Sarmatian limestones. The limestone is dominated by rhodolithes in the St. Margarethen quarry and by bivalves and macroscopic quartz in Fertőrákos quarry. Porous limestones are exposed to weathering outdoors, leading to mass loss, flaking, sulphate efflorescence, black crusts from microscopic organisms and the colonization by lichens and mosses. The peak of limestone use for public buildings and sculptures was the years 1745 to 1780 (reign of Maria Theresa), and about 1880 to 1915, when there was relative prosperity and machine production began. The tombstones made of the Leitha limestones shifts to a peak between 1905 and 1925. In the 20th century, the Leitha limestones gave way to a competition from Czech decorative stones.
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Anna, Emma. "ACT_VISION." Journal of Public Space 7, no. 3 (December 31, 2022): 143–56. http://dx.doi.org/10.32891/jps.v7i3.1593.
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This paper takes the form of personal memoir as a reflection on art in the public domain and a means by which to re-tell the conceptual development and evolution of IMAG_NE, a concrete poem and public sculpture. The concept was first developed for my Masters of Arts (Art in Public Space) at RMIT University. Initially an aid to assist my own personal creative evolution, the artwork has now toured as an ephemeral installation to communities across Australia, New Zealand, Europe and the United States of America and has been widely used as a tool to promote community initiatives and collective visioning. Joseph Beuys’s theories of a “social sculpture” are drawn upon as a conceptual framework to underpin IMAG_NE and its agenda to promote individual and societal change. The power of the human imagination is evoked in an ongoing conference with a broad range of sites, communities and individuals. The impact of IMAG_NE is demonstrated through key examples including its appearance at numerous large public sculpture festivals and significant cultural sites. Recent developments surrounding the work’s presence in the Central Coast community of New South Wales, Australia, provides further evidence of the work’s importance and impact, and motivation for the continuation of the project into the post-Covid 19 pandemic era.
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Balletti, C., F. Guerra, C. Meneghello, and G. Romanato. "THE DIGITAL EPHEMER: HENRY III OF FRANCE IN VENICE (1574)." ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences VIII-M-1-2021 (August 27, 2021): 33–40. http://dx.doi.org/10.5194/isprs-annals-viii-m-1-2021-33-2021.
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Abstract. Sometimes digital reconstruction interfaces with the ephemeral aspect of the Cultural Heritage. Photogrammetric survey, integrated with the most up-to-date visualization technologies, aims to the production of 3D models that can recreate and document the artifacts that were made to be short-lived.The paper deals with the documentation of an historical event: the stay of Henry III of France in Venice in 1574. This happening has been studied as part of the journey from Poland to France, undertaken by the king through Austria and northern Italy. Many royal events were organized and among the architectural and sculptural works that were made for the occasion, two stand out: the ephemeral triumphal arch and loggia designed by Andrea Palladio for the grand entry of the King and the three hundred sugar sculptures cast from moulds obtained from Jacopo Sansovino’s workshop.Historical research, iconography and cartography, along with the photogrammetric survey of some artworks still visible today, allowed the three-dimensional reconstruction of the temporary structures and sugar sculptures created for this historical event and made to last only for the ten days of his stay.The purpose of this research is to map the movements of the King and recreate the works of art that were created for him in various parts of Venice, according to a geographic and scientific approach, by framing them in space and time and employing the 3D models to project the observer into 16th century Venice.The integration of methods and techniques pertaining to geomatics and three-dimensional computer graphics allow us to animate and reconstruct images of no longer existing places and works of art which were made to be fleeting but scenic at the same time and arouse amazement between the leading personalities of those times.The “digitalization of the ephemeral” aims to bring these artifacts back to memory, following a meticulous process based on the examination of the historical sources together with cartographic data and a scientific survey.
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Maxwell, Stephen, Aart Dekkers, David Berschauer, and Bradley Congdon. "A new Domiporta species (Gastropoda, Mitridae) from tropical Queensland." Festivus 49, no. 3 (August 1, 2017): 199–205. http://dx.doi.org/10.54173/f493199.
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A new species of Mitridae, Domiporta valdacantamessae, is described from Dingo Beach, Queensland, Australia. The shell shows similarities with other Queensland Domiporta species: D. carnicolor Reeve, 1844, D. filiaris Linnaeus, 1771, D. gloriola Lamarck, 1811, D. granatina Cernohorsky, 1970 and D. praestantissima Röding 1798, however the new species can be differentiated based on the clathrate micro-sculpture. At present, this species is only known from Queensland, Australia.
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Zheng, Yao. "A New Turricula (Conoidea, Clavatulidae) from the Northwest Shelf of Western Australia." Festivus 56, no. 1 (February 1, 2024): 31–38. http://dx.doi.org/10.54173/f56131.
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A new species of Turricula from the northwest continental shelf of Western Australia is described. Turricula infida Yao and Maxwell, nov. sp. can be differentiated from other Turricula by the sculpture of the upper whorls with its distinctive subsutural nodulations. This study indicates that further work is needed in Turricula.
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GEIGER, DANIEL L., and TAKENORI SASAKI. "Four new species of Anatomidae (Mollusca: Vetigastropoda) from the Indian Ocean (Reunion, Mayotte) and Australia, with notes on a novel radular type for the family." Zoosymposia 1 (July 25, 2008): 247–64. http://dx.doi.org/10.11646/zoosymposia.1.1.14.
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Four new species of Anatomidae are described: Anatoma herberti n. sp. with strong axial sculpture on the shoulder and base; A. austrolissa n. sp. with almost smooth sculpture except for axial cords in the adumbilical half of the base; A. boucheti n. sp. with sunken protoconch and selenizone that starts after more than one teleoconch I whorl; and A. fl exidentata n. sp. with a highly modifi ed radula, shared only with A. austrolissa, among known anatomid species. Three of the species are only known from the Indian Ocean, while the more deep-water A. austrolissa is known from Reunion Island and New South Wales, Australia. The radula of A. flexidentata and A. austrolissa is strikingly different from that of other Anatomidae and Vetigastropoda in that it has flexible equally-shaped teeth in the central field and filamentous teeth in the marginal fi eld. Similar radular morphologies are known from Calliostomatidae.
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Pokryszko, BM. "The Gastrocoptinae of Australia (Gastropoda : Pulmonata : Pupilloidae): Systematics, distribution and origin." Invertebrate Systematics 10, no. 5 (1996): 1085. http://dx.doi.org/10.1071/it9961085.
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The Gastrocoptinae of Australia are revised on the basis of over 13 000 specimens from nearly 600 localities. Of 23 nominal species 12 are synonymised; Gastrocopta stupefaciens, sp. nov., and G. solemorum, sp. nov., are described, making a total of 13 species. A key to the species is provided. Pumilicopta Solem, 1989 is reduced to subgeneric rank. Eleven of 13 species are endemic to Australia, one to Australia and New Guinea, and one is recorded from Australia and some Pacific islands. The gastrocoptines inhabit only coastal areas and the 'Red Centre'; only three species are exclusively southern. Relationships with extralimital taxa, based on derived characters of apertural barriers and shell sculpture, indicate that the gastrocoptines colonised Australia at least four times from Asia and adjacent islands. The first immigration may have taken place in the mid-Miocene.
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PFINGSTL, TOBIAS, SYLVIA SCHÄFFER, ERNST EBERMANN, and GÜNTHER KRISPER. "Intraspecific morphological variation of Scutovertex sculptus Michael (Acari: Oribatida: Scutoverticidae) and description of its juvenile stages." Zootaxa 1829, no. 1 (July 25, 2008): 31. http://dx.doi.org/10.11646/zootaxa.1829.1.2.
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This paper provides a detailed redescription of the adult and the first morphological description of all juvenile stages of Scutovertex sculptus. Specimens from four European countries, Austria, Germany, France and Spain were investigated. The species specific characters are the broadened posterior notogastral setae (lp, h 1 –h 3 ), the slightly broadened anterior notogastral seta (dm), the gastronotic cuticle with irregularly distributed foveae and a thick layer of secretion forming blocs with color dispersive qualities on the posterior half of notogastral region. Minor differences in the shape of notogastral setae and in the thickness of the secreted layer on the posterior gastronotic region were found in specimens from different countries. The investigation of the juveniles of S. sculptus showed that the larva and nymphs can be easily distinguished from those of S. minutus; the lateral setae on tibia I are leaf-shaped in S. sculptus and knife-shaped in S. minutus.
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Rzeczycka, Monika. "Biblical Symbols in the Works of Rudolf Steiner’s Followers: Initiation/Archangel Michael by Amalia Luna Drexler as an Example of an Anthroposophical Interpretation of the Spiritual Mission of the Slavs." Studia Religiologica 53, no. 1 (2020): 1–14. http://dx.doi.org/10.4467/20844077sr.20.001.12504.
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At the beginning of the 20th century, national mythologies inscribed in the Christian tradition were held in high regard within the milieu of Polish and Russian followers of esotericism. The international anthroposophical movement initiated by the Austrian philosopher Rudolf Steiner is a special case. Among his Russian and Polish devotees sprang the common idea of the Slavic spiritual mission in the service of Archangel Michael. The author of this article explores this idea using the example of a sculpture entitled Initiation/Archangel Michael made in 1927 by the Polish artist Amalia Luna Drexler, who belonged to the group of “first generation”anthroposophists.
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Bakaryagin, Stepan S. "Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, no. 4 (December 20, 2021): 498–505. http://dx.doi.org/10.18255/1996-5648-2021-4-498-505.
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The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.
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Maxwell, Stephen, and David Berschauer. "A New Endemic Species of Milariconus Tucker & Tenorio, 2009 (Gastropoda: Conidae) from Western Australia." Festivus 55, no. 3 (August 1, 2023): 170–77. http://dx.doi.org/10.54173/f553170.
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A new species of Miliariconus from tropical Western Australia, is described based on morphological differences with known taxa from that region. The new species differs from known Australian species in sculptural form and colour. This species further highlights the endemism of much of the new taxa that is being discovered in remote northern Australia.
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Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.
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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.
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LAMBKIN, KEVIN J. "Revision of the Ipsviciidae of the Late Triassic of Queensland (Hemiptera: Cicadomorpha: Scytinopteroidea)." Zootaxa 4860, no. 4 (October 14, 2020): 503–20. http://dx.doi.org/10.11646/zootaxa.4860.4.2.
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Ipsvicia Tillyard, 1919, and Ipsviciopsis Tillyard, 1922, in Tillyard’s new family, Ipsviciidae, were two of the most impressive insects from the Denmark Hill locality of the Late Triassic (Norian) Blackstone Formation, Ipswich Coal Measures, south-eastern Queensland. Substantial new material, including several fragmentary body specimens, from the Dinmore locality in the same formation, has enabled a revision of the two genera, with the following results: Ipsvicia jonesi Tillyard, 1919 (= Ipsvicia maculata Tillyard, 1919, syn. nov., = Ipsvicia acutipennis Tillyard, 1919, syn. nov.), Ipsviciopsis elegans Tillyard, 1922 (= Ipsviciopsis magna Tillyard, 1922, syn. nov.). The tegmen of Ipsviciopsis is distinguished from that of Ipsvicia on its narrower shape and less convex costal margin, simpler surface sculpture, longer basal cell, sinuous R, only slightly angulate CuA, and sinuous base of 1A. The tegmina of both I. jonesi and I. elegans are noteworthy for their variability in apical venation and shape of the apex, with no two specimens quite the same. The tegmen of I. jonesi has extraordinary surface sculpture comprising patches of fine tubercles set in a coarser tuberculate/punctate groundmass, the patches extremely variable in shape and pattern, again with no two specimens the same. A new diagnosis of the Ipsviciidae has identified the unique form of the distal portion of Sc (dSc—a long groove running along the costal space and crossed by many costal veinlets), the complex and highly variable apical venation, and the simple CuA, as the most distinctive characters. Analysis of all previous taxa which have been referred to the Ipsviciidae restricts the family to the Middle to Late Triassic, with records from Australia, China, France, Germany, Japan and Kyrgyzstan, and with one Early Jurassic record from Kyrgyzstan. Ipsvicia langenbergensis Barth, Ansorge et Brauckmann, 2011, from the Late Triassic of Germany meets the diagnosis of Ipsviciopsis and is transferred as Ipsviciopsis langenbergensis (Barth, Ansorge et Brauckmann, 2011) comb. nov. All previous Permian records of the family have now been transferred to other families of the Scyctinopteroidea, and there are also numerous additional unconfirmed Triassic records. The new body specimens of both Ipsvicia and Ipsviciopsis show that the ipsviciids where robust hemipterans with tough, coriaceous, fairly flatly-folded tegmina, with a large, shield-like, highly sculptured pronotum covering all but the mesoscutellum, and apparently much of the head. The body form is not dissimilar to ground-dwelling cockroaches, or more especially some ground-dwelling moist environment Heteroptera, such as the nepomorph family Gelastocoridae. This body form, as well as their frequent occurrence among the rich Dicroidium-dominant flood plain and swamp flora of the Dinmore locality, where they represent nearly 20% of the preserved insect fauna (cockroaches represent 25%), suggest that the ipsviciids were ground-dwelling insects of moisture-rich floral environments.
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Ryan, Honi. "Coda: Persistence at the End of Civilisation." Coolabah, no. 35 (March 19, 2024): 95–114. http://dx.doi.org/10.1344/co20233595-114.
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Honi Ryan reflects on the theme of the journal, Wounded Landscapes, in a visual essay that traces her series of ecologically centred performative installations Persistence at the End of Civilisation, a body of work about climate migration, produced between 2020–21. It comprises sculpture, painting, photography, video, food, participation, embodiment and movement, research and text; as well as sound, text, and performance pieces made in collaboration with artist Abi Tariq. This body of work grew in response to the megafires that burned in Australia in 2019–20 and brings an urban audience into proximity with the tactile reality of the aftermath of wildfires.
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Mancebo Roca, Juan Agustin. "Recepción y legado de Gustav Klimt en el norte de Italia." Norba. Revista de Arte, no. 43 (January 11, 2024): 371–87. http://dx.doi.org/10.17398/2660-714x.43.371.
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No European country devoted to Klimt the attention he received in Italy. Widely represented at the 1910 Biennale and at the International Exhibition in Rome in 1911, his work influenced artists in the north of the country and in the irredentist territories that transcribed his laboratory of experiences both in painting and in other artistic disciplines. The reception of Klimt, through design, furniture, fashion and interior decoration perpetuated, in a more moderate way than at his starting years, modernism and symbolism until the mid-20th century in the transalpine country through Venetian decorative models, the reception in Felice Casorati and the "rebellious" artists of Ca'Pesaro, the Italian-speaking Austrian subjects in Trento and Trieste and the sculpture and graphics of Adolfo Wildt.
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MOUND, LAURENCE A., and DESLEY TREE. "Identification and host-plant associations of Australian Sericothripinae (Thysanoptera, Thripidae)." Zootaxa 1983, no. 1 (January 19, 2009): 1–22. http://dx.doi.org/10.11646/zootaxa.1983.1.1.
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The Sericothripinae is a largely tropical group of about 140 species that are often strikingly bicoloured and have complex surface sculpture, but for which the biology is poorly known. Although 15 genera have been described in this subfamily, only three of these are currently recognised, with five new generic synonymies indicated here. In Australia, Sericothrips Haliday is introduced, with one European species deployed as a weed biological control agent. Hydatothrips Karny comprises 43 species worldwide, with six species found in Australia, of which two are shared with Southeast Asia, and four are associated with the native vine genus, Parsonsia. Neohydatothrips John comprises 96 species worldwide, with nine species in Australia, of which one is shared with Southeast Asia and two are presumably introduced from the Americas. Illustrated keys are provided to the three genera and 16 species from Australia, including six new species [Hydatothrips aliceae; H. bhattii; H. williamsi; Neohydatothrips barrowi, N. bellissi, N. katherinae]. One new specific synonym is recognised [Hydatothrips haschemi Girault (=H. palawanensis Kudo)], also four new generic synonyms [Neohydatothrips John (=Faureana Bhatti; Onihothrips Bhatti; Sariathrips Bhatti; Papiliothrips Bhatti); Sericothrips Haliday (=Susserico- thrips Han)].
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Nowak, Magdalena Anna. "Self-Historicization Through Photography and Documentation. Stanisław Ostoja-Kotkowski’s Archive in the National Museum in Warsaw." Život umjetnosti, no. 111 (July 2023): 106–31. http://dx.doi.org/10.31664/zu.2022.111.09.
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The article is based on the research I carried out on the archive of Stanisław Ostoja-Kotkowski (1922–1994), the Cold War-era Polish-Australian artist living in South Australia, which is currently kept in the National Museum in Warsaw. Ostoja-Kotkowski was a pioneer in electronic art, kinetic sculpture, laser art, computer graphics and light art in the 1960s and 1970s. The article analyzes the archive in the context of “self-historicization” (Badovinac), used by this émigré artist to create his artistic identity in both Australia and Poland. The archive proves that self-documentation by the less-known creators from peripheral hubs is helpful to contemporary researchers in deconstructing dominating historical narratives. The use of photographs in the archive is seen through Amelia Jones’ notion of “performative document”, which helps to see images of ephemeral performances and actions as equal to the works of art themselves.
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Berge, Christine, and Elisabeth Daynes. "Modeling three-dimensional sculptures of australopithecines ( Australopithecus afarensis ) for the Museum of Natural History of Vienna (Austria): the post-cranial hypothesis." Comparative Biochemistry and Physiology Part A: Molecular & Integrative Physiology 131, no. 1 (December 2001): 145–57. http://dx.doi.org/10.1016/s1095-6433(01)00474-3.
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Benay, Jeanne. "Margret Kreidl ou la « dramatisation du langage »." Austriaca 53, no. 1 (2001): 219–55. http://dx.doi.org/10.3406/austr.2001.4367.
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M. Kreidl est la dramaturge la plus représentative du théâtre autrichien des années 1990, son parcours scriptural s'inscrivant exactement dans cette période. On peut ainsi suivre l'évolution d'un discours - avec des débuts hésitants et moins autonomes - jusqu'à l'épanouissement. Malgré la qualité de l'œuvre qui se personnalise de plus en plus, le décalage de la réception, notamment en ce qui concerne les traductions françaises, est regrettable. Mais le credo de Kreidl n'a pas changé, c'est celui de la "dramatisation du langage". On est loin d'un féminisme à sens unique ou d'une idéologie figée. Transculturelle, Kreidl a fait intervenir des variables qui doivent autant à la "théâtralité" de B. Brecht, à l'engagement subversif d'un Maïakovski, à la précision du langage d'Ilse Aichinger qu'à l'amour du détail et au refus de la psychologie des grands noms du "nouveau roman" français tels M. Duras ou F. Ponge. Aussi faut-il retenir au moins trois préoccupations clés de cette nouvelle "esthétique ouverte" : la rigueur du langage, l'engagement et le "minimalisme". Ce sont eux qui permettent à Kreidl de sculpter n'importe quel thématisme, notamment pour responsabiliser la femme et le citoyen.
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Grant, Elizabeth Maree. "“Pack 'em, rack 'em and stack 'em”: The appropriateness of the use and reuse of shipping containers for prison accommodation." Construction Economics and Building 13, no. 2 (June 17, 2013): 35–44. http://dx.doi.org/10.5130/ajceb.v13i2.3269.
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Shipping containers are gaining increasing recognition for their apparent durability, adaptability, light weight, ‘low cost' and ease of stacking, spurring a trend that has resulted in shipping container sculpture, homes, housing, hotels, and museums. The use of prefabricated, pre-manufactured and prototype building methods for prison construction has grown considerably as some jurisdictions attempt to deal with the construction of prisons with speed and economy. In the last three years, shipping containers have been used in the prison sector as a way of managing burgeoning prison populations. Recent prison developments in both Australia and New Zealand where shipping containers have been employed for prisoner housing are of considerable interest. In this article, the financial, functional, structural, technical, environmental and architectonic impacts of this approach are discussed.
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Al-Douri, Hamdi Hameed. "D. G. Rossetti's "The Burden of Nineveh"." JOURNAL OF LANGUAGE STUDIES 5, no. 2 (October 8, 2023): 295–304. http://dx.doi.org/10.25130/jls.5.2.15.
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Iraqi and Middle-Eastern Archaeological antiquities had been, and still are subjects to burgling by the excavators and looters. In 1850, the British Pre-Raphaelite poet-painter Dante Gabriel Rossetti (1822-1888), made a visit to the British Museum which coincided with the hoisting into the museum of a winged bull from Nineveh and he selected the Nineveh statue as the focus of his musings. This event induced a train of thoughts in the poet and inspired his poem "The Burden of Nineveh" in which he contemplates on the Bull's identity, time and civilizations. The poet goes into the future of London to imagine the sculpture and its new role as a relic in the London Museum. He predicts that in the future, archaeological excavators; travellers from Australia, digging up the massive Assyrian bull-god sculpture from the ruins of London and the British Museum will assume it to be a relic of London rather than of Nineveh and an object of worship by native Britons, representing London's culture and religion. This paper, therefore, is an attempt to shed light on the significance of this poem as an eye-witness on the acts of stealing the Iraqi and the Near Eastern antiquities and conveying them to the British Museum and other museums. It, also, attempts to explore Rossetti's critique of imperial cultures and his concept of time and inconstancy as well as his prediction of an aura of decline and ruin of Western civilization.
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Schäffer, Sylvia, Stephan Koblmüller, Tobias Pfingstl, Christian Sturmbauer, and Günther Krisper. "Contrasting mitochondrial DNA diversity estimates in Austrian Scutovertex minutus and S. sculptus (Acari, Oribatida, Brachypylina, Scutoverticidae)." Pedobiologia 53, no. 3 (May 2010): 203–11. http://dx.doi.org/10.1016/j.pedobi.2009.09.004.
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Pfingstl, Tobias, Sylvia Schäffer, Ernst Ebermann, and Günther Krisper. "The discovery of Scutovertex ianus sp. nov. (Acari, Oribatida) – a combined approach of comparative morphology, morphometry and molecular data." Contributions to Zoology 79, no. 1 (March 29, 2010): 39–55. http://dx.doi.org/10.1163/18759866-07901003.
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Based on morphological, morphometric and genetic data Scutovertex ianus sp. nov. is described as a new oribatid mite species. The traditional comparison with the morphologically most similar congeneric S. minutus and S. sculptus demonstrated that the new species shares certain characters with both species, but can be clearly identified by indistinct cuticular notogastral foveae in combination with short spiniform notogastral setae. Furthermore the eggs of S. ianus exhibit a different fine structure of the exochorion. The morphometric analysis of 16 continuous morphological variables separated the three species, S. minutus, S. sculptus and S. ianus with a certain overlap indicating minor size and shape differences in overall morphology. The molecular phylogenetic analysis of mitochondrial COI gene sequences supported the monophyly of all three investigated species and confirmed S. ianus as separate species with high bootstrap values. Each performed analysis approves the discreteness of S. ianus and the results contradict the formerly supposed large intraspecific variability of the representatives of the genus Scutovertex. The records of S. ianus are as yet restricted to the Eastern part of Austria and to one location in Germany, but findings of intermediary Scutovertex specimens from other European countries may refer to this new species.
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Brand, J., A. Wain, A. V. Rode, S. Madden, P. L. King, and L. Rapp. "Femtosecond pulse laser cleaning of spray paint from heritage stone surfaces." Optics Express 30, no. 17 (August 10, 2022): 31122. http://dx.doi.org/10.1364/oe.468750.
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We explore the use of femtosecond laser pulses to clean a variety of colors of spray paint from the Moruya granite, a stone with high heritage value that is widely used for monuments and sculptures in Sydney and New South Wales (Australia). The efficiency of the cleaning treatment and the effects on the stone substrate are evaluated using optical microscopy, optical profilometry, Raman spectroscopy, energy-dispersive X-ray spectroscopy, and colorimetry. We demonstrate that femtosecond laser cleans granite without damaging it and without discoloration when the laser fluence is set below the damage threshold of the stone.
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Collie, Madeleine. "Ash Stories: A Spell against Forgetting." Performance Philosophy 6, no. 2 (November 1, 2021): 156–73. http://dx.doi.org/10.21476/pp.2021.62320.
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This paper will explore The Ash Project (2016-2019), which worked to commission a memorial sculpture and a series of walks, talks, workshops and exhibitions to create closer relationships between ash trees and the local puow trade in plants has created increased risks to plant health, and the way in which plants can perform complex relationships to a collective sense of national and colonial identity, through an exploration of ash migrations to the colonies via acclimatisatioblics. This paper will situate the concerns of the ash within broader thinking about capitalism's intensifying impact on nature. It explores hn societies in Australia and New Zealand. Finally, the paper thinks about how we might perform memorial acts to curate love or care while acknowledging our complex shared histories in multi-species entanglements.
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Ponder, WF, and GA Clark. "A Morphological and Electrophoretic Examination of Hydrobia Buccinoides, a Variable Brackish-Water Gastropod From Temperate Australia (Mollusca, Hydrobiidae)." Australian Journal of Zoology 36, no. 6 (1988): 661. http://dx.doi.org/10.1071/zo9880661.
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The morphology of the abundant brackish-water hydrobiid snail known as 'Hydrobia buccinoides' is described. A new genus, Ascorhis, is provided for it and the valid species name for the southern (South Australia, Victoria, Tasmania) and eastern (New South Wales, Queensland) populations is shown to be victoriae T. Woods. The species name buccinoides is based on Assiminea tasmanica and is an earlier name for that species. Morphological and allozyme differences indicate that the Western Australian populations should be distinguished as a separate species and a new name (A. occidua) is provided for these. Both species show a considerable intrapopulation variation in shell sculpture. Salinity tolerance experiments on three Sydney populations indicate that Ascorhis victoriae tolerates a wide range of salinities, the middle of the preferred range being about that of normal seawater.
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Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (July 9, 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.
Full textAbstract:
In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.
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Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.
Full textAbstract:
As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.
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Stadelmaier, Philipp. "Zoom, Reise zum Grund des Bildes, vom Kleinen ins Kleinste." Zeitschrift für Katalanistik 26 (July 1, 2013): 131–51. http://dx.doi.org/10.46586/zfk.2013.131-151.
Full textAbstract:
Summary: The paintings and sculptures of Antoni Tàpies are violent, closed and hermetic, but also covered by a fine layer of ciphers, signs and scratches. Thus, they hide an invisible ground which they, however, simultaneously begin to provide access to. Tàpies offers a vision and a reading at the same time. However, apart from seeing and reading, there is a third way to penetrate an image: touch. The romans-collage by Max Ernst, the issue of script in the work of Cy Twombly and the illustrations of the Austrian writer Erwin Moser may help us to understand the significance of touch in Tàpies’ plastic art. [Keywords: Tàpies; Cy Twombly; Max Ernst; Erwin Moser; zoom; montage; collage; journey; disaster; scripture; crypt; stroke; art history; ground of the image; touch; painting]
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Joselit, David. "THE PROPERTY OF KNOWLEDGE." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 158–65. http://dx.doi.org/10.7146/nja.v28i57-58.114854.
Full textAbstract:
We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms of content challenges sovereignty over the cultural and economic value linked to things that emerge from particular cultural properties ranging from Aboriginal painting in Australia to the ap- propriation of Mao’s cult of personality in 1990s China. This essay considers the most recent phase of the readymade in terms of its century-long history.
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Andersen, Alan N., François Brassard, and Benjamin D. Hoffmann. "Unrecognised Ant Megadiversity in the Australian Monsoonal Tropics: The Melophorus hirsutipes Heterick, Castelanelli & Shattuck Species Group." Diversity 15, no. 8 (July 28, 2023): 892. http://dx.doi.org/10.3390/d15080892.
Full textAbstract:
Melophorus hirsutipes Heterick, Castanelli & Shattuck is a recently described taxon that was presented as occurring throughout most of mainland Australia and showing highly variable morphology. One highly variable character is sculpture, which is smooth and shiny in the type specimen but conspicuously scabrid and even rugulose in other forms. The scabrid and rugulose forms occur primarily in the monsoonal (seasonal) tropics of the northern third of the continent, a region that has recently been shown to be a global centre of ant diversity, but largely unrecognized as such because the great majority of species are undescribed. Here, we provide an integrated morphological, genetic (CO1) and distributional analysis of diversity within the scabrid and rugulose forms of M. ‘hirsutipes’. We recognize 16 species among the 56 scabrid/rugulose specimens sequenced, along with four shiny or shagreenate species that are embedded within them. We conclude that Melophorus ‘hirsutipes’ is a highly diverse group of at least 30 species given the very patchy geographical coverage of sequenced specimens. Our findings provide further evidence that the total number of species in monsoonal Australia is likely in the several thousands, which would make it the world’s richest known region for ant species.