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Journal articles on the topic 'Saint Art'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Suzryukova, Elena. "PATRON SAINTS OF GEORGIA IN MODERN ORTHODOX WRITERS’ LITERATURE." Проблемы исторической поэтики 18, no. 4 (November 2020): 348–63. http://dx.doi.org/10.15393/j9.art.2020.8762.

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Semantics and functions of images that represent Georgia’s patron saints are examined in this article as exemplified in the Georgian Rhapsody, a collection of stories by O. Nikolayeva, stories by M. Saradzhishvili (from the books Do not rush to condemn and Next to you), Exile, a short story by V. N. Lyalin, and Wonderful journey to Orthodox Georgia by O. Rozhneva. Referring to episodes from the hagiography of Georgian saints in the texts in question allow us to trace the spiritual history of Georgia since the time of adoption of Christianity. The detailed list of saints is present in the books of О. Nikolayeva and О. Rozhneva. Even though only particular periods of Georgia's history are reflected in the stories of М. Saradzhishvili and V. N. Lyalin, the country's patron saints participation in the life of their characters in Georgia’s recent past or present day is undeniable. For example, Saint Equal-to-the-Apostles Nina performs a guardian function and her appearance during the Soviet years provides spiritual support to the female character of V. N. Lyalin’s story. First and foremost, a patron in combat, Saint George the Trophy Bearer is also a patron of the family. Venerable David of Garedzha is both an example of humility and a patron of the hearth and home. With his gift of prophecy, Blessed Gabriel (Urgebadze), mentioned in the book by О. Rozhneva, also assists on the path of personal salvation. Whereas О. Rozhneva’s book is exclusively focused on depicting Orthodox Georgia and its saints, the work of О. Nikolayeva provides a more comprehensive image of Georgia, including a vast stratum of the country’s cultural characteristics. In О. Nikolayeva’s book the saints represent a significant facet of Georgia’s image.

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Volskaia, Tatiana V. "Vitae as a Subject Source in the West European Pictorial Art of the 14–17th Centuries (On the Example of the Image of Saint Jerome of Stridon)." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 437–66. http://dx.doi.org/10.21638/spbu15.2021.305.

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For many centuries, Western European art drew its subjects from ancient history, mythology and the Bible. The artists paid great attention to the depiction of saints, for each of whom, over time, a pictorial canon with its own attributes and certain subjects was formed. As a result, the viewer not only easily recognized a particular saint, but he could also get acquainted with the facts of his biography and the role he played in the history of the church. Saint Jerome of Stridon was one of the most popular among artists, of all the Fathers of the Church he was portrayed more often than others. The article discusses the formation of this canon on the example of Jerome’s life and work. It is based on a literature review of this topic and it contains the main studies of the biography and literary activity of Jerome, from which the artists drew subjects for their works. The article describes chronologically the vitae of St. Jerome, his hagiography from Jacobus de Voragine’s “The Golden Legend”, biography and posthumous legends, miracles and appearances of the saint from “Hieronymianus” by Giovanni d’Andrea. Erasmus of Rotterdam wrote a historical biography of Saint Jerome. Since the 19th century a large number of scientific studies of Jerome’s life and work has appeared. The article analyzes specific works of Jerome, which were also sources for pictorial images. Special attention is paid to a review of art history literature, as well as medieval bestiaries, since the paintings with St. Jerome are filled with numerous symbolic animals. A review of literature and sources on the stated topic will help stimulate researchers to further study the relationship between the lives of saints and their iconography in art, identify gaps in research on this topic and specify aspects that researchers have not yet paid attention to.

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Naydenova, Darya Vadimovna. "Zoomorphic iconography of St. Christopher in the Art of the Balkan countries." Studia Slavica et Balcanica Petropolitana, no. 2 (28) (2020): 107–24. http://dx.doi.org/10.21638/spbu19.2020.207.

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

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Hill, Leslie, William J. Berg, Michel Grimaud, and George Moskos. "Saint/ Oedipus: Psychocritical Approaches to Flaubert's Art." Modern Language Review 80, no. 1 (January 1985): 172. http://dx.doi.org/10.2307/3729422.

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5

Raviez, François. "Saint-Simon, Mémoires : un art de l'oubli." Cahiers Saint Simon 35, no. 1 (2007): 79–88. http://dx.doi.org/10.3406/simon.2007.1435.

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6

BACKEMEYER, S. "Central Saint Martins Art and Design Archive." Journal of Design History 5, no. 4 (January 1, 1992): 295–300. http://dx.doi.org/10.1093/jdh/5.4.295.

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7

Agratina, Elena E. "JEAN-CLAUDE RICHARD DE SAINT-NON (1727-1791), AN AMATEUR IN FINE ARTS AND A FRIEND OF ARTISTS." Articult, no. 3 (2020): 81–87. http://dx.doi.org/10.28995/2227-6165-2020-3-81-87.

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The article is dedicated to Jean-Claude Richard de Saint-Non (1727–1791), a refined connoisseur, a great friend of artists and an extremely charming personality. Destined to religious worship Abbot de Saint-Non had not a spiritual calling for this and was indifferent to any government service. Instead of it he devoted his own life to such activities as travelling, exploration of ancient and modern art, patronage of young painters and creation of multi-volumed treatise on the sights of Naples and Sicily. Abbot de Saint-Non himself was talented in fine art and produced some engravings after drawings by outstanding masters of his epoch, especially J.-H. Fragonard. The article examines his life, activities, and personality for the first time in Russian. It highlights de Saint-Non’s contribution to the development of the 18th-century painting and to investigation of ancient art.

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Gerát, Ivan. "Saint George Between Media and Functions." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 37–46. http://dx.doi.org/10.31664/ripu.2019.43.03.

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The figure and story of Saint George, one of the most popular Christian saints of all time, has been represented in many places and in several historical periods. The cult of the saint has even transcended the confessional borders of Christianity, and his martyrdom was an exemplary manifestation of Christian belief, associated with the fight against older religions, perceived by Christians as pagan idolatry. His battle against the dragon, even if it was only later included in his legends, can be interpreted as an important archetypal image, embodying some of the basic tendencies of the human psyche. The current article focuses on this issue in the context of the visual art of a short period – the second decade of the sixteenth century – and of the geographical area of Central Europe. It is an attempt to compare several ways in which narratives about the saint were constructed and used for the purposes of political or religious propaganda. The construction of narratives was closely associated with the unwritten rules of a system of representation, valid in a particular medium.

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NIKONENKO, Sergey. "Representations of Antique Arms and Armour in the Architectural decor of St. Petersburg." Historia i Świat 6 (September 14, 2017): 267–76. http://dx.doi.org/10.34739/his.2017.06.25.

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The matter of the article is the representation of ancient arms and armour in Saint Petetrburg’s architecture. Classisism style (1770-1840) and New Classicism style (1905-1915) are studied. The main point of the article is the representation of helmets in military décor. The article contains: 1. Typology of ancient military décor; 2. The full list of buildings with ancient military décor of Saint Petersburg; 3. Examples of ancient helmets in military décor of Saint Petersburg; 4. Aesthetical Analysis of the art, symbolic and ideological reasons for using ancient military décor in Saint Petersburg’s buildings; 5. The attempt to prove that archaic helmets are the most frequent kind of Saint Petersburg’s military décor; 6. The attempt to prove that Russian architects and sculptors did not copy ancient helmets and other arms but they created new samples according to the canons of Classicism art.

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Pigin, Alexander. "POETICS OF LIKENESS IN ANCIENT RUSSIAN HAGIOGRAPHY: ALEXANDER OSHEVENSKY VS ALEXIS THE MAN OF GOD." Проблемы исторической поэтики 19, no. 1 (February 2021): 39–54. http://dx.doi.org/10.15393/j9.art.2021.8642.

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The article offers a comparative analysis of two hagiographic works — the ancient Russian Life of Alexander Oshevensky (XVI century) and the Byzantine Life of Alexis the Man of God, known in ancient Russia since the pre-Mongol era. The author attempts to substantiate the hypothesis that Alexis the Man of God served as one of the hagiographic prototypes of Alexander Oshevensky. The connection between these saints was initially pointed out by the famous Russian hagiologist Nikodim (Kononov), who included in his akathist to Alexander Oshevensky (1897) the likening of Saint Alexander to Alexis the Man of God. The association with Alexis the Man of God is instigated by the worldly name of Alexander Oshevensky — Alexis, or Alexey (the Saint was born on March 17, on the day of memory of ‘the Man of God’). The two Lives share common hagiographic topoi, the textual proximity of mothers’ cries, and so on. The fates of hagiographic characters who had left their relatives, but subsequently returned to them (one as a fool, the other as a monk), are also similar. At the same time, the family theme is resolved in two Lives in different ways: while the ‘Man of God’ remains indifferent to the grief of his relatives, Alexander Oshevensky is portrayed both as a perfect monk and as a loving son. The article also considers the Life of Alexander Oshevensky in the context of other ancient Russian literature works.

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Zarucchi, Jeanne Morgan. "French Art at the Saint Louis Art Museum: A Bilingual Learning Resource." French Review 89, no. 1 (2015): 115–27. http://dx.doi.org/10.1353/tfr.2015.0122.

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12

Comerford, Peter J. "Great Bosh." Religion and the Arts 20, no. 5 (2016): 608–36. http://dx.doi.org/10.1163/15685292-02005003.

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In Brideshead Revisited, Waugh tried to tie specific trends in modern art to the general decline of culture, against which Catholicism stood as a bulwark. This essay examines the conversion of Charles Ryder that interacts with his, and Waugh’s, reaction to modern art. Parallels are drawn with the conversion of Saint Augustine. The essay concludes that Waugh’s critique of modern art theory is superficial, and ignores the relationship between Christianity and modern art. This relationship is explored through the work of Joseph Masheck. The history of pictorial flatness is traced through religiously inspired art and is seen to be in continuity with modern art such as the black paintings of Ad Reinhardt. Saint Augustine’s theology of art as a means rather than as an end functions in Brideshead Revisited as a way to reconcile Waugh’s Catholic and artistic intentions.

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Margolis, Nadia. "Joan of Arc: The Warrior Saint by Steven W. Richey." Arthuriana 15, no. 2 (2005): 79–80. http://dx.doi.org/10.1353/art.2005.0009.

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Belko, Tatyana V., and Evgenia Yu Kuznetsova. "The image of The Holy blessed prince Alexander Nevsky in Russian painting and printed schedule of the first half of the 20th century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 316–31. http://dx.doi.org/10.37816/2073-9567-2022-63-316-331.

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The paper aims to study artistic interpretations of the image of the Blessed Prince Alexander Nevsky in the Russian visual arts of the first half of the 20th century. Being the patron Saint of the Imperial family Prince Alexander Nevsky becomes one of the Central heroes of the fine arts of the 19th century — temples are actively built in honor of the Saint, monumental paintings are created that popularize him as a Saint, warrior and hero. First half of 20th century — the time of the “revolution” in art, the time of searching for new heroes and methods of creating objects of fine art, and, of course, the time of political events on a global scale. The study focuses on the works of fine art from the point of view of the influence of artistic “isms” and political events on ideological and graphic rethinking of the image of Alexander Nevsky in Russian monumental painting and, actively developing at that time, printed graphics — poster and postcard. The authors examine the works of artists of the Russian style, avant-garde, social realism, define ideological message of the works, and use a selected set of materials to trace the trend of evolution of the image from a Saint to a political leader.

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Franz, Fabio. "An Inspirational Milieu." Experiment 23, no. 1 (October 11, 2017): 81–92. http://dx.doi.org/10.1163/2211730x-12341302.

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Abstract This paper focuses on the provenance, conservation history, and critical fortuna of some selected Western European paintings that were placed in Saint Petersburg between 1850 and 1917. In my research, I link archival information with scientific bibliography and material data for three purposes: Firstly, I compare the two stays in Russia, in 1861 and 1862, by the German expert Gustav Friedrich Waagen with the 1865 visit to St. Petersburg of the Italian connoisseur Giovanni Battista Cavalcaselle. Secondly, I investigate Cavalcaselle’s alleged meeting with the Russian expert Fedor Antonovich Bruni regarding the technique, fruition, and state of conservation of the paintings Saint Sebastian Barbarigo by Titian, Apollo and Marsyas Litta by Bronzino, and Virgin and Child with the Infant Saint John, now attributed to Pontormo. Thirdly, I explore to what extend Duke of Leuchtenberg’s art gallery, Nikolai Dmitrievich Bykov’s collection, and some other private collections, among them those of Princess Kotchubey, Counts Buturlin and Stroganov, and Armenian general Lazarev, were accessible to Western scholars. The research results will enable art historians, curators, and restorers to fill in some blanks in the provenance research and conservation history of these Western masterpieces that used to enrich the Saint Petersburg art scene before the October Revolution.

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López Plasencia, José Cesáreo. "Una escultura inédita de san Roque del Círculo de Balduque, recuperada en Tenerife." ACCADERE. Revista de Historia del Arte, no. 2 (2021): 31–45. http://dx.doi.org/10.25145/j.histarte.2021.02.02.

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"In this paper we study a wood sculpture representing Saint Roch of Montpellier that belongs to the parish church of The Immaculate Conception, in Realejo Bajo, Los Realejos (Tenerife). The religious effigy, which was venerated in the extinct Franciscan Convent of Saint Lucy, in the same town, has recently been restored. Its art features allow us to relate this simulacrum to the art of the well-known Flemish sculptor and woodcarver Roque de Balduque, who worked in Seville from 1534 to 1561 and is one of the most prominent figures in 16th-century Spanish sculpture."

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17

Klyukina, Lyudmila. "RELIGIOUS AND PHILOSOPHICAL IDEAS IN “THE DREAM OF A RIDICULOUS MAN” BY FYODOR DOSTOEVSKY." Studia Humanitatis 18, no. 1 (June 2021): 36–42. http://dx.doi.org/10.15393/j12.art.2021.3682.

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Staying in the framework of the hermeneutic approach, this article reveals and analyses the religious and philosophical ideas of Saint Augustine of Hippo’s Confessions in the text of Fyodor Dostoevsky's short story “The Dream of a Ridiculous Man”. This study demonstrates that Dostoevsky, while staying within the boundaries of contemporary culture, independently comprehended such universal ideas and problems as the origin of evil, free will, theodicy and salvation, which were first formulated in the European philosophical tradition by Saint Augustine. The author concludes that the idea of unbounded free will and universal salvation, offered by Dostoevsky who demonstrated that rejecting individual freedom is justified only for the sake of said salvation, profoundly influenced Russian religious philosophy of Vladimir Solovyov.

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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.

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TODOROVA, ZINAIDA. "SAINT NICHOLAS CHURCH IN UNEZHMA VILLAGE: HISTORY AND ARCHITECTURE." Studia Humanitatis 21, no. 4 (December 2021): 14–24. http://dx.doi.org/10.15393/j12.art.2021.3784.

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The article deals with a relatively unknown monument of wooden architecture – the Saint Nicholas Church (1824) in Unezhma village of the Onega District in the Arkhangelsk Region. The monument is extremely hard to reach, and it is located in a unique natural environment. The church stands out due to its architecture; however, it is poorly studied in terms of its construction history, architectural and artistic features, and interconnections with regional traditions. The church is described together with the bell tower built in 1792 as an architectural complex existing for more than four hundred years. The study is based on historical archival sources and on-site survey results. The authors traced the construction history of the Saint Nicholas Church and identified its construction stages. The appearance of the building at each construction stage was substantiated and presented through graphical reconstructions. The building was compared to similar structures found in the Onega Pomorye, and its specific architectural features were exposed. The building was also studied from the structural point of view. Based on the results of the comparison with similar structures and the analysis of their historical changes, the author made some conclusions about the original design of the church top. Historical data on the preceding church were interpreted and used to create its graphical reconstruction, together with the analysis of local architectural traditions. Thus, the article brings to light the construction history and development of the Unezhma church complex. The architecture of the Saint Nicholas Church and the bell tower has its distinctive features, but it ultimately conforms to the church-building traditions of the Onega Pomorye.

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Ershov, Gleb Yu. "Curatorial Strategies in Saint-Petersburg Contemporary Art. Some Examples." Vestnik of Saint Petersburg University. Arts 10, no. 3 (2020): 419–34. http://dx.doi.org/10.21638/spbu15.2020.303.

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Apostolos-Cappadona, Diane. "Saint Louis University Mocra: Museum of Contemporary Religious Art." Material Religion: The Journal of Objects, Art and Belief 2, no. 3 (November 1, 2006): 393–94. http://dx.doi.org/10.2752/174322006778815216.

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Stalinskaya, E. P. "Saint Petersburg Master of Enamel Art O. O. Lysenkova." Университетский научный журнал, no. 46 (2019): 81–89. http://dx.doi.org/10.25807/pbh.22225064.2019.46.81.89.

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apostolos-Cappadona, Diane. "Saint louis university mocra museum of contemporary religious art." Material Religion 2, no. 3 (November 2006): 393–94. http://dx.doi.org/10.1080/17432200.2006.11423070.

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24

Von Henneberg, Josephine. "Saint Francesca Romana and Guardian Angels in Baroque Art." Religion and the Arts 2, no. 4 (1998): 467–87. http://dx.doi.org/10.1163/156852998x00322.

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Owen, Corey. "Patient Lancelot and Impatient Gawain in the Queste del Saint Graal." Arthuriana 17, no. 4 (2007): 3–28. http://dx.doi.org/10.1353/art.2007.0006.

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Burns, E. Jane. "Devilish Ways: Sexing the Subject in the Queste del Saint Graal." Arthuriana 8, no. 2 (1998): 11–32. http://dx.doi.org/10.1353/art.1998.0008.

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Krsmanovic, Bojana, and Ljubomir Milanovic. "Beards that matter. Visual representations of Patriarch Ignatios in Byzantine art." Zograf, no. 41 (2017): 25–36. http://dx.doi.org/10.2298/zog1741025k.

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The paper discusses twelve visual depictions that in all likelihood represent St. Ignatios of Constantinople and were created between the ninth and the thirteenth century. Most of these depictions show Patriarch Ignatios beardless, which reflects the fact that he was a eunuch of the ???????? category. The paper analyzes two iconographical elements distinctive of his portraits: beardlessness and youthful appearance. It concludes that, on the one hand, the artists who painted the beardless portraits of Ignatios strove to depict the saint as realistically as possible; while, on the other hand, his beardless and youthful appearance also had a metaphorical meaning and served to highlight the chastity and purity of the eunuch saint.

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O'Neil, Kelly. "Reimagined Story." Canadian Journal of Disability Studies 8, no. 4 (July 1, 2019): 358–75. http://dx.doi.org/10.15353/cjds.v8i4.541.

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Shelton, Andrew Carrington. "Art, Politics, and the Politics of Art: Ingres's "Saint Symphorien" at the 1834 Salon." Art Bulletin 83, no. 4 (December 2001): 711. http://dx.doi.org/10.2307/3177229.

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Firsov, Gennady, and Nikolay Lavrentyev. "History of introduction of Fagaceae taxa in Saint-Petersburg." HORTUS BOTANICUS 8, no. 8 (December 2013): 10–32. http://dx.doi.org/10.15393/j4.art.2013.1961.

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Firsov, Gennady Afanas`evich, and Inna Vadimovna Fadeeva. "Year seasons duration and arboreal plants at Saint-Petersburg." HORTUS BOTANICUS 17, no. 17 (January 2022): 247–61. http://dx.doi.org/10.15393/j4.art.2022.8365.

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Séguy, Mireille, and Carol Dover. "Naming and Renaming: On Two Grail Scenes in L'Estoire del Saint Graal." Arthuriana 12, no. 3 (2002): 87–102. http://dx.doi.org/10.1353/art.2002.0027.

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Cooper, Lisa H. "Bed, Boat, and Beyond: Fictional Furnishing in La Queste del Saint Graal." Arthuriana 15, no. 3 (2005): 26–50. http://dx.doi.org/10.1353/art.2005.0055.

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Bokelman, Doot. "The Reception of Bartolomeo Bermejo’s Saint Augustine." Explorations in Renaissance Culture 41, no. 1 (March 16, 2015): 75–93. http://dx.doi.org/10.1163/23526963-04101004.

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The Art Institute of Chicago’s St. Augustine (oil on panel) is a universally accepted work by the Spanish artist Bartolome Bermejo. Painted around 1475, the writing saint has been identified as various Benedictine saints and St. Augustine, but these proposals are problematic because they do not take into account all of the iconographic elements within the panel or early Renaissance liturgical practices. This essay will examine the many iconographic details of the panel and consider the surviving archival materials, including an original contract for an ecclesiastically similar figure, Sto. Domingo de Silos by Bermejo. Uncommon ecclesiastical circumstances of Sto. Domingo de Silos in Daraco found in a papal document mirror those found in St. Benedict’s foundation in Monte Cassino. These iconogaphic and textual studies in coordination with an understanding of contemporary liturgical and Benedictine practices will reveal that St. Benedict is the single figure whose personal and ecclesiastical life most closely corresponds to the evidence in the Chicago panel.

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Duncan, Alexandra. "Digitization after a fashion: The art of compromise." Art Libraries Journal 42, no. 1 (December 15, 2016): 55–60. http://dx.doi.org/10.1017/alj.2016.47.

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A case study concerning the in-house digitization of a small collection of Central Saint Martins graduate fashion shows. The background of the collection is outlined (VHS and DVD recordings spanning from 1979 to present), as well as the workflow put in place to deal with the technical aspects of recording, cataloguing, processing and archiving an audio-visual collection with minimal budget and staffing.

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Sperling, Jutta. "Squeezing, Squirting, Spilling Milk: The Lactation of Saint Bernard and the FlemishMadonna Lactans(ca. 1430–1530)." Renaissance Quarterly 71, no. 3 (2018): 868–918. http://dx.doi.org/10.1086/699605.

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AbstractThe focus on three drops of milk issuing from the Virgin’s breast in “The Virgin in Front of a Fire Screen” was inspired by contemporary representations of the Lactation of Saint Bernard. This latter iconography provides the visual context for the vivid address of eroticized depictions of the Madonna’s “one bare breast” in Flemish art and shows the intricate connections between visuality and materiality in fifteenth-century Flemish religious art. Some depictions of Saint Bernard’s lactation transform the Madonna’s jets of milk into rays of light aiming for his eyes, stressing the interchangeability of materiality and visuality as modes that were expected to facilitate and/or authenticate miraculous appearances of the Madonna.

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Cornelison, Sally J. "Art Imitates Architecture: The Saint Philip Reliquary in Renaissance Florence." Art Bulletin 86, no. 4 (December 2004): 642. http://dx.doi.org/10.2307/4134457.

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Gross, Guillaume. "L’organum, un art de cathédrale ? Musiques autour de saint Guillaume." Cahiers de recherches médiévales et humanistes, no. 26 (December 30, 2013): 35–55. http://dx.doi.org/10.4000/crm.13390.

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Williams, Hannah. "Saint Geneviève’s miracles: art and religion in eighteenth-century Paris." French History 30, no. 3 (February 10, 2016): 322–53. http://dx.doi.org/10.1093/fh/crv076.

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Stollhans, Cynthia. "SAINT CATHERINE OF ALEXANDRIA AND HER BOOK IN ITALIAN ART." Source: Notes in the History of Art 26, no. 3 (April 2007): 23–29. http://dx.doi.org/10.1086/sou.26.3.23208080.

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BACKEMEYER, S. "The Central Saint Martins Art and Design Archive: Phase Two." Journal of Design History 11, no. 4 (January 1, 1998): 335–36. http://dx.doi.org/10.1093/jdh/11.4.335.

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Labrude, Pierre. "L'ancienne pharmacie « Art nouveau » de Saint-Honoré-les-Bains (Nièvre)." Revue d'histoire de la pharmacie 95, no. 357 (2008): 123–24. http://dx.doi.org/10.3406/pharm.2008.6463.

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Kolycheva, Valeria. "The Art of Art Assessing (Results of a Survey in the Saint Petersburg Artistic Community)." Sotsiologicheskie issledovaniya, no. 11 (November 2019): 100–109. http://dx.doi.org/10.31857/s013216250007451-9.

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Firsov, Gennady, Vyacheslav Byalt, Larisa Orlova, and Alexandr Khmarik. "Promising species and forms of conifers for Saint-Petersburg city planting." HORTUS BOTANICUS 12, no. 12 (March 2017): 732–51. http://dx.doi.org/10.15393/j4.art.2017.3762.

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Portuges, Catherine. "Kékesi, Zoltán. 2015. Agents of Liberation – Holocaust Memory in Contemporary Art and Documentary Film. Trans. Reuben Fowlkes. Budapest and New York: Central European University Press; Saint Helena, CA: Helena History Press. 221 pages." Hungarian Cultural Studies 11 (August 6, 2018): 202–5. http://dx.doi.org/10.5195/ahea.2018.342.

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Kékesi, Zoltán. 2015. Agents of Liberation – Holocaust Memory in Contemporary Art and Documentary Film. Trans. Reuben Fowlkes. Budapest and New York: Central European University Press; Saint Helena, CA: Helena History Press. 221 pages.

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Slonimskaya, R. N. "Art therapy – sphere of art education: review on collected articles «Music therapy in music education – Art therapy in art education» (Saint Petersburg, 2018)." Vestnik of Saint Petersburg State University of Culture, no. 2 (2019): 187–88. http://dx.doi.org/10.30725/2619-0303-2019-2-187-188.

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Duţică, Gheorghe. "Voices of Edification Calls for Salvation – an Oratorio (Pilgrims to Saint Parascheva) by Viorel Munteanu." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 97–132. http://dx.doi.org/10.2478/ajm-2021-0005.

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Abstract After the glorious reception of Voices of Putna – a key contribution to the genre – Viorel Munteanu makes now a new “offering of sound and letter”, a “different” sort of eulogy for the Orthodox Byzantine monody, meaning to encourage us to embark on the difficult journey of salvation together with the endless train of “pilgrims to Saint Parascheva”. It is, thus, a daring compositional effort that will be spiritually experienced by both its creator and its public, from the first contact with the graceful resonance of the title to the last shimmer of sound at the end of the final scene. If one considers the Orthodox art and its spirit, Viorel Munteanu’s Oratorio for Saint Parascheva is more than a creative act; it is an act of faith, of hope and of love, “a prayer to”, and “joy in”, Jesus Christ; it is living tradition and self-giving truth, by which we partake to one of the most memorable unions of Christian experiences and symbols.

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Hervieu-Léger, Danièle. "Isabelle Saint-Martin, Art chrétien/art sacré. Regards du catholicisme sur l’art. France, xixe-xxe siècle." Archives de sciences sociales des religions, no. 176 (December 31, 2016): 381. http://dx.doi.org/10.4000/assr.28334.

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Iker, Annemarie. "Photographs of the “Dust of the Highway”: Georgiana Goddard King’s Way of Saint James." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 27–52. http://dx.doi.org/10.5195/contemp.2016.149.

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This article explores the use of photography in American art historian Georgiana Goddard King’s Way of Saint James (1920), a genre-defying book on the Camino de Santiago that intertwines art history with anthropology, literature, history, geography, and narrative. Despite King's groundbreaking scholarship on medieval Spain her legacy has been overshadowed by subsequent art historians, chief among them Arthur Kingsley Porter. Here, it is suggested that King’s emphasis on personal experiences of the pilgrimage—both historical and contemporary—diminished the value of her work, especially when compared with Porter’s supposedly ‘objective,’ ‘scientific’ studies. These methodological differences, visually manifest in King and Porter’s respective approaches to photographic evidence, have implications for medieval, historiographic, and feminist art historical inquiries.

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Pipkin, Christopher Lee. "Monster Relics: The Giant, the Archangel, and Mont-Saint-Michel in the Alliterative Morte Arthure." Arthuriana 27, no. 1 (2017): 95–113. http://dx.doi.org/10.1353/art.2017.0004.

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