Bibliografie tematiche / German Paper sculpture

Letteratura scientifica selezionata sul tema "German Paper sculpture"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "German Paper sculpture"

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Władyka-Łuczak, Zofia. "Sculpture as a Code – Rhetorical Devices Used by the Sculptor". Acta Universitatis Lodziensis. Folia Litteraria Polonica 35, n. 5 (27 aprile 2017): 239–52. http://dx.doi.org/10.18778/1505-9057.35.18.

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The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.
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Kossowska, Irena. "Politicized Aesthetics: German Art in Warsaw of 1938". Art History & Criticism 13, n. 1 (1 dicembre 2017): 29–41. http://dx.doi.org/10.1515/mik-2017-0003.

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Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.
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Lotman, Juri. "Маска в художественном мире Гоголя и маски Анатолия Каплана [Mask in an artistic world of Gogol, and the masks of Anatoli Kaplan]". Sign Systems Studies 30, n. 2 (31 dicembre 2002): 695–705. http://dx.doi.org/10.12697/sss.2002.30.2.20.

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Mask in an artistic world of Gogol, and the masks of Anatoli Kaplan. The paper deals with an intersemiotic problem — how it is possible to represent a verbal image by the means of sculpture. It was written as an afterword for a German edition of N. Gogol’s Dead Souls (illustrated by photos on mask-sculpures by Anatoli Kaplan) thus using a style meant for general reader. However, it includes a deep analysis and several important conclusions about the fancy worlds of Gogol and Kaplan, and about the possibilities to create connections between them. It is stressed that the very artistic illustration is possible only due to its independence, due to the subjective seeing of the author.
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Nowakowska, Maria. "Open-Air Łódź Sculpture Gallery and Its Influence on the City’s Aesthetics in 1972–1978". on the w terfront Public Art Urban Design Civic Participation Urban Regeneration 63, n. 11 (9 novembre 2021): 26–48. http://dx.doi.org/10.1344/waterfront2021.63.11.02.

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The aim of the paper is to outline the circumstances of the establishment of the Łódź Sculpture Gallery in Rubinstein’s Alley (formerly: Aleja ZMP) and its impact on the aesthetics of Łódź. Despite the city’s history dating back to the beginning of the 15th century, the first fully-fledged sculpture in public space appeared only in 1912. By the beginning of World War II, the number of sculptures increased to a dozen or so, but all of those works were destroyed by the Germans in the first years of the occupation. In the period 1945–1970, two monuments and a dozen or so smaller forms appeared. The sculptural face of the city was changed only by the Łódź Sculpture Gallery, which focused on the most important issues of post-war town planning, politics, artistic trends, and social needs. Despite its short period of operation (1972–1978), its effects are still visible almost everywhere in Łódź. Never before and never after has the medium of sculpture been aestheticised on such a scale in the city. The memory of this place and several dozen sculptures (and of their creators) has almost faded away. Currently, activities are under way to restore the Łódź Sculpture Gallery to its due position in the history of the city and to continue its activities in the same place.
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Burks, Marlo Alexandra. "Catriona Macleod. Fugitive Objects: Sculpture and Literature in the German Nineteenth CenturyCatriona Macleod. Fugitive Objects: Sculpture and Literature in the German Nineteenth Century. Evanston: Northwestern University Press, 2013. 264 pp. US$39.95 (Paper). ISBN 978-0-8101-2934-4." Seminar: A Journal of Germanic Studies 53, n. 1 (febbraio 2017): 85–87. http://dx.doi.org/10.3138/seminar.2017.53.1.85.

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Gómez Darriba, Javier, e Francisco Javier Novo Sánchez. "El patrocinio artístico del regidor Álvaro Pérez Osorio en la catedral de Mondoñedo (1615-1641)". Imafronte, n. 29 (2 febbraio 2022): 1–15. http://dx.doi.org/10.6018/imafronte.480001.

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This paper addresses the artistic endowment of the Conception Chapel in Mondoñedo Cathedral, carried out by a married couple belonging to the local nobility. It analyses the works of architecture, painting, sculpture, blacksmithing and silversmithing made by various Flemish, German, Galician and Cantabrian artists, providing new information on figures such as Martín de Balenzate, Juan de Biorín, Juan de Castro and Crispín de Evelino, among others. El presente trabajo trata la dotación artística de la capilla de la Concepción de la catedral de Mondoñedo, llevada a cabo por un matrimonio perteneciente a la hidalguía local. En él se analizan las obras de arquitectura, pintura, escultura, rejería y platería realizadas por diversos artistas flamencos, alemanes, gallegos y cántabros, aportándose nuevos datos sobre figuras como Martín de Balenzate, Juan de Biorín, Juan de Castro o Crispín de Evelino, entre otros.
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Gorzelik, Jerzy. "Wiatr z Północy. Dyskursywne konstruowanie Heimat na przykładzie gmachu dawnej Królewskiej Szkoły Rzemiosł Budowlanych w Katowicach i jego wystroju". Przegląd Kulturoznawczy, n. 4 (50) (30 dicembre 2021): 745–61. http://dx.doi.org/10.4467/20843860pk.21.051.14968.

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Wind from the North: The Discursive Construction of Heimat Exemplified by the Edifice of the Former Royal School of Building Crafts (Königliche Baugerwerkschule) in Katowice and its Decoration The paper examines the edifice of the former school of building crafts (Baugewerkschule) in Katowice, Upper Silesia, which opened in 1901, and its decoration. The works of architecture, painting and sculpture were interpreted as carriers of a discourse calculated to construct Heimat, located within the borders of the Prussian Silesian Province. The building’s forms, reminiscent of the brick Gothic of northern Germany, were characteristic of the milieu of the Technische Hochschule in Hannover, where the designers of the edifice were educated. The city’s coat of arms was depicted on the facade, the vaulted ceiling of the auditorium was decorated with dragon and gryphon motifs of Scandinavian origin, and its walls painted with images of St. Hedwig ‒ the patron saint of Silesia, viewed here as a deconfessionalized personification of the land ‒ the Prussian eagle, and four iconic monuments of historic Silesian architecture. Thus, references were made to various levels of identity ‒ local, regional, national, and the mythologised Germanic North. The narrative constructed in this way fits into the cultural nationalism of the educated German bourgeoisie (Bildungsbürgertum), which grows out of the Romantic tradition. At the same time, the emphasis on the opposition of the North and South can be seen as a strategy for overcoming the peripheral status of Silesia in a world organised by the West-East axis. The school’s building in Katowice exemplifies how the elites of the German Empire used visual means to construct modern imagined communities.
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Mérai, Dóra. "“This Single Slab of Marble Does Not Show you One Single Face”. •". Acta Historiae Artium 61, n. 1 (18 dicembre 2020): 81–148. http://dx.doi.org/10.1556/170.2020.00005.

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AbstractThe paper presents stone funerary monuments known from the Saint Michael Cathedral in Alba Iulia (in Hungarian, Gyulafehérvár, in German Karlsburg or Weissenburg, today in Romania) from the second half of the sixteenth and the seventeenth centuries, the period of the Transylvanian Principality. These memorials represented a broad variety in terms of their quality and complexity, including simple heraldic ledgers produced locally as well as large wall monuments made of colorful marbles imported from the most fashionable Dutch and Italian workshops in the Polish-Lithuanian Commonwealth to commemorate the princes of Transylvania and their family members. All stone funerary monuments, regardless their size and form, are linked by their function: they were created to preserve and evoke the memory of the dead among the present and future generations of the living by communicating specific messages about them. The forms, materials, images, and texts, as well as the location of the memorial in the space of the medieval cathedral and in the context of the other funerary monuments there were all carefully chosen to serve this purpose of communication. The paper analyzes all principality-period funerary monuments from the Saint Michael Cathedral in Alba Iulia as media of memory, including both the simple and the more complex ones ordered from abroad to commemorate the Transylvanian rulers. I will examine the monuments in the context of their production and reception, within the scene of sculpture in Central and Eastern Europe, in order to understand what kind of memory they were intended to preserve and how they were designed to retain and shape the memory of the deceased.
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Amado, Maria Teresa. "A Arte como desenvolvimento espiritual: a linguagem abstrata de Rui Chafes". e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 06 (2121): 101–16. http://dx.doi.org/10.53943/elcv.0121_09.

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The paper aims to examine the transformative role of art and artists, today and in the future. We have chosen as a starting point the work of a remarkable Portuguese sculptor at the leading edge: Rui Chafes, a challenger of new aesthetic paths. Chafes is a conceptual sculptor of iron and fire who seeks and aspires to abstractionism, as a novel language and a novel vision of the world. The artist thinks his work deeply, regularly publishing texts about his work and its connections with art, beauty and life. From his imaginary artistic biography, Between Heaven and Earth, a bit like Vasari’s The Lives, we will begin by presenting the sculptor’s aesthetic and plastic universe. Then we will consider the way his unique identity path turns out to be inspiring and fulfilling. This imaginary character, born in Germany in the 13th century, absorbed the spiritual medieval gothic shapes and the sense of nature, the sublime and the absolute spirit, peculiar to German Romanticism. From his long experience we highlight learning the value of life, and the love for here and now, both rooted in a density of experiences and memories; memories, places and times which interact and dialogue with his sculptures — works which cralise the spaces they inhabit as if they had always been part of them. For Rui Chafes the future of humankind depends on our ability to incorporate memory and the past into the present, and in this sense his project is a very original and promising alliance between tradition and modernity.
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Kovačević, Marijana. "O prvoj monografskoj obradi škrinje Svetog Šimuna u Zadru". Ars Adriatica, n. 1 (1 gennaio 2011): 187. http://dx.doi.org/10.15291/ars.437.

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This paper paraphrases the first monographic study of the silver casket which was commissioned in the last quarter of the fourteenth century as a reliquary for the body of St Simeon in Zadar. The author of the monograph ‘The Silberschrein des S. Simeone in Zara’ is Alfréd Gotthold Meyer, an art historian from Berlin. The manuscript was written in German, translated into Hungarian and published in Budapest in 1894. Both the manuscript and the book are available only in a few copies in Croatia and this was one of the incentives for writing this article, apart from the need to introduce and evaluate one of the key works ever written on this important subject, and to do so in a more detailed manner than it had been done before. Meyer divided the material in five chapters. In the first chapter he deals with the traditions about the relic. The second chapter is a summary of the documents concerning the history of the silver casket. In the third chapter Meyer describes the reliefs on the casket and discusses their iconography, while in the fourth chapter he analyses them stylistically and attempts to reconstruct the original arrangement of particular reliefs. The final, fifth chapter is the most important part of this work, because it emphasizes comparisons between the Zadar casket and similar works in Italy and Dalmatia. The book has all the qualities of a scholarly text which is rather surprising for such an early date. Meyer pointed out a number of key notions about the supposedly different authors of particular reliefs, for example several master pieces of Italian painting and sculpture which may have inspired these authors, and he also noted the important seventeenth-century restoration on the casket. A. G. Meyer set very high scholarly standards with his work, which were rarely achieved in many subsequent publications on the casket, especially during the first half of the twentieth century.
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Libri sul tema "German Paper sculpture"

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author, Melissen Antoon 1967, e Visch Loes editor, a cura di. Caroline Hofman: Esthetiek de stilte = the aesthetics of silence. Zwolle: Waanders Uitgevers, 2022.

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Hacker, Dieter. Dieter Hacker: Oil paintings, works on paper, sculpture in bronze. New York: Marlborough Gallery, 1986.

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Hacker, Dieter. Dieter Hacker: Oil paintings, works on paper, sculpture in bronze. New York: Marlborough Gallery, 1986.

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1927-, Cimiotti Emil, e Stracke Joachim 1958 editor, a cura di. Emil Cimiotti: Papierreliefs. Heidelberg: Kehrer, 2016.

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Barrett, Sigrid. Sigrid Barrett: Das plastische Werk : Arbeiten auf Papier : 1979-2012 = Sculpture : works on paper. Landshut: Museen der Stadt Landshut, 2015.

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Hacker, Dieter. Dieter Hacker: New works : oil paintings, works on paper, sculpture, poems "Death is my father and my motheris love". London: Marlborough Fine Art (London) Ltd, 1989.

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Ernst, Max. Max Ernst: Paintings, sculptures, works on paper : inaugural exhibition, 4 Nov. 1988 - 11 Feb. 1989. London: Runkel-Hue-Williams, 1988.

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Buchenthal, Gabriele. Heinrich Papen um 1645-1719, Christophel Papen 1678-1735: Eine westfälische Bildhauerwerkstatt im Zeitalter des Barock. 2a ed. Paderborn: Bonifatius, 1995.

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9

Chillida, Eduardo. Eduardo Chillida: Sculpture and works on paper. London: Annely Juda Fine Art, 1992.

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Chillida, Eduardo. Eduardo Chillida: Sculpture and works on paper. London: Annely Juda Fine Art, 1995.

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Capitoli di libri sul tema "German Paper sculpture"

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"Pater and German Aesthetic Thought". In Walter Pater and the Language of Sculpture, 71–112. Routledge, 2017. http://dx.doi.org/10.4324/9781315084145-3.

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Morel, Olivier. "In Search of the Ghost Country". In Transpositions, 133–58. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621112.003.0008.

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This paper revolves around the obsidional complex, also known as “fortress Europe,” that paralyses the European project today. In his 1991 text on Europe (L’Autre Cap) Derrida (re)affirms the need to cultivate the unconditional “openness” that defines Europe. In this sense, Europe is at the core of what “transposing” means as an active verb. If seen as a dynamic concept, a performative art of the transposition is what Hélène Cixous, Ariane Mnouchkine and the Théâtre du Soleil have engaged with the play Le Dernier Caravansérail. In this work, the journeys of refugees perform all kinds translations and turn the crossing of borders into a collective questioning. Cixous’s dialogue with the exiled artist Adel Adbessemed deals with the way his drawings and sculptures address the despicable European rejections at the core of the violence against migrants. Ultimately, this article explores the ramifications of the essential “refugee crisis” that Hélène Cixous’s family has endured, from Germany to Algeria, from Algeria to France, and beyond. What Cixous once named an “exil originaire” (“originary” exile) could very much be what we mean when we use the word “transposition” in terms of translation, intersections and digressions, as forms of liberation through writing and creation.
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Knöll, Stefanie A. "Collective Identity: Funeral Monuments to Academics in Northern Europe". In History of Universities, 14–61. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199262021.003.0002.

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Abstract The study of funeral monuments is still largely restricted to monuments celebrating members of the upper classes. Traditionally informed by considerations of sculptor and style, such studies have been supplemented only recently by sociological and gendered methods, which place more emphasis on assessing the function of funeral monuments in death rituals. A few recent studies of scholars’ monuments have also appeared, but they focus primarily on spectacular Italian examples, neglecting more common specimens and other geographies. The present study discusses funeral monuments erected to the memory of professors in the universities of Oxford, England (founded in the twelfth century), Tübingen, Germany (founded in 1477), and Leiden, The Netherlands (founded in 1575), during the period 1580–1700. While the difference between Catholic and Protestant iconography is relatively obvious, this study examines the subtle differences that existed between monuments erected in the context of differing Protestant denominations—Anglican Oxford, Calvinist Leiden, and Lutheran Tübingen. It is beyond the scope of this paper to address the particular tenets of each church; nor does it seek to analyze monuments specifically commemorating noted Lutherans or Calvinists. Instead, it will consider monuments of academics—including some Catholics-that were erected within a specific Protestant context.
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Leopold, Estella B. "The Evolving Archery Endeavors". In Stories From the Leopold Shack. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780190463229.003.0011.

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This passage, from Dad’s essay “Man’s Leisure Time,” seems to sum up why Dad had turned to bow-and-arrow making as a favorite hobby in the late 1920s. Archery became a family enterprise. Dad loved to hunt, and we all grew up participating in hunting and archery practice at or near the Shack as well as further afield. And it turned out that Mother particularly had an extraordinary talent and skill for tournament archery. My father was a skilled carpenter, and probably learned from his father, Carl Leopold, who was skilled with hand tools. Dad’s father was the president of the Leopold Desk Company of Burlington, Iowa, and all of Dad’s siblings became expert in woodworking. Dad started making bows and arrows in 1926, when someone gave him a bow stave of yew wood. In Madison he began to shape this stave, and later ones of Osage orange or yew, into beautiful bows. In the basement he kept his giant toolbox of carpenter tools, which he had transported from Albuquerque. We still have that great box and some of his tools—planes, squares, chisels, files, saws, and such. In the basement he also set up a German-style workbench, with a wood vise on the right side, a metal quick-release vise on the left, and a series of peg holes down the middle to hold a block in place for using a plane. Dad placed his giant staves of Osage orange or yew in the vice and shaped the bow with a sharp drawknife and a wood file. The midsection, where the grip was located, was carefully shaped and made oval to fit the hand securely. To gauge the symmetry of his sculpturing of the bow stave, he hung up a large sheet of brown paper on the wall and placed a hook high at the top, hung up the bow, and, with the bowstring attached to the sculptured bow tips, pulled the string downward so the bow bent, and so he could see if the curve of the drawn bow was evenly symmetrical.
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Atti di convegni sul tema "German Paper sculpture"

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Roland, Stephanie, e Quentin Stevens. "North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia". In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.

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This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
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Rapporti di organizzazioni sul tema "German Paper sculpture"

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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, gennaio 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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