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1
Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.
Повний текст джерелаАнотація:
Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
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Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (January 1, 2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.
Повний текст джерелаАнотація:
AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s thoughts represented in their forms of paintings in the East Asian tradition of poetry–calligraphy–painting in one? (2) How are the interrelations among the pictorial image, verbal message, and empty space revealed in individual literati paintings? (3) How are such interrelations deconstructed amid new cultural circumstances?
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Suparma Netra, I. Made, and Nyoman Wardi. "Konservasi Koleksi Lukisan Museum Le Mayeur." Humanis 23, no. 3 (September 27, 2019): 216. http://dx.doi.org/10.24843/jh.2019.v23.i03.p08.
Повний текст джерелаАнотація:
As a result of human work, painting is a cultural heritage that has important values. The state of the structure of the paintings which is composed by organic materials makes the painting very vulnerable to the environmental influences and other causes of damage. This research aims to find out about the characteristics of the painting, the types of damage, the factors that cause damage, and its conservation techniques both preventive and and curative to painting collection of Le Mayeur Museum.The results of this research are expected to provide benefits and development of science in the field of archeology about the study of cultural heritage conservation. This study uses qualitative analysis, technology analysis, and comparative analysis. Data collection technique used are direct observation technique, interviews, and library reserach studies. The theories applied are Aesthetic Theory and Conservation Theory.The results obtained namely the characteristic of Le Mayeur’s paintings are representative with women’s theme and surroundings life, the coloring technique using plaque technique with oil paint, watercolor, traditional paint, and pastels color. Generally, there are several types of damage to the painting collection of Le Mayeur Museum, such as physical or mechanic damage, biotic damage, and chemical damage. Those types of damage are caused by physical factors,chemistry factors, biotic factors, and human factors. The conservation techniques carried out at the Le Mayeur Museum include preventive conservation and curative conservation. The preventive actions are carried out with control of temperature, air humidity, intensity of ultraviolet light, and control of air containing salt due to sea water vapor. The curative actions taken are semi-chemist medicine and painting restoration.
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Kapinus, Alexander. "On the Issue of the Painting Technique of the Marine Artist V.I. Shilyaev." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 185–94. http://dx.doi.org/10.17150/2500-2759.2020.30(2).185-194.
Повний текст джерелаАнотація:
Seascape is a special genre of painting. To show the vivid life of the sea is not an easy task for an artist. The creative heritage of marine painters not only delights, but also encourages modern artists to look for their own style, to develop their own painting technique to achieve it. The author analyzes the genesis of the special manner of the Far Eastern marine painter V.I. Shilyaev in the representation of a live transformation of the sea wave, attempts to characterize his original painting technique to perform a frozen in time moment of life of the dynamic volume on the plane of the canvas. Maintaining the creative tradition of the great marinists of the past, V.I. Shilyaev filled his works with patriotic content of self-identification of the Russian Far East, developed the art of depicting legendary ships on an aesthetically irresistible sea wave. The author claims that the mixed improvisational technique of visualizing the constantly changing volume and color of the sea wave is V.I. Shilyaev's innovative contribution to the achievements of the Russian seascape painting school.
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刘, 城霞. "Study and Implementation of the Painting Communication Platform Based on .NET." Software Engineering and Applications 10, no. 04 (2021): 509–15. http://dx.doi.org/10.12677/sea.2021.104055.
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Hinrichs, Nina. "Das Eismeer – Caspar David Friedrich and the North." Nordlit 12, no. 1 (February 1, 2008): 131. http://dx.doi.org/10.7557/13.1194.
Повний текст джерелаАнотація:
The German Romantic painter Caspar David Friedrich (1774-1840) created the work of art Das Eismeer in the years 1823/24. Besides his painting Mönch am Meer it is his most radical painting. It depicts a dramatic and grim subject: A shipwreck in the Arctic Sea. According to different cultural, historical and social contexts there have been many different interpretations of his painting since it was produced.
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Rampazzi, Laura, Cristina Corti, Ludovico Geminiani, and Sandro Recchia. "Unexpected Findings in 16th Century Wall Paintings: Identification of Aragonite and Unusual Pigments." Heritage 4, no. 3 (September 15, 2021): 2431–48. http://dx.doi.org/10.3390/heritage4030137.
Повний текст джерелаАнотація:
Sixteenth century wall paintings were analyzed from a church in an advanced state of decay in the Apennines of central Italy, now a remote area but once located along the salt routes from the Po Valley to the Ligurian Sea. Infrared spectroscopy (FTIR-ATR), X-ray diffraction (XRD) and scanning electron microscopy (SEM) with a microprobe were used to identify the painting materials, as input for possible future restoration. Together with the pigments traditionally used for wall painting, such as ochre, ultramarine blue, bianco di Sangiovanni, cinnabar/vermilion, azurite, some colors were also found to have only been used since the 18th century. This thus suggests that a series of decorative cycles occurred after the church was built, confirmed by the multilayer stratigraphy of the fragments. Some of these colors were also unusual, such as clinochlore, Brunswick green, and ultramarine yellow. The most notable result of the analytical campaign however, was the ubiquitous determination of aragonite, the mineralogical form of calcium carbonate, mainly of biogenic origin. Sources report its use in Roman times as an aggregate in mortars, and in the literature it has only been shown in Roman wall paintings. Its use in 16th century wall paintings is thus surprising.
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Willaert, Klaas. "Protest at Sea against Deep Sea Mining: Lawfulness, Limits and Remedies." International Journal of Marine and Coastal Law 36, no. 4 (October 27, 2021): 672–83. http://dx.doi.org/10.1163/15718085-bja10077.
Повний текст джерелаАнотація:
Abstract Protest at sea has been on the rise and this trend has now also manifested itself within the context of deep sea mining. In May 2021, Greenpeace activists approached the Normand Energy, a ship chartered by Belgian deep sea mining contractor Global Sea Mineral Resources (GSR), and interfered with its operations by painting slogans on the hull of the vessel and attaching banners to the umbilical cord of GSR’s prototype nodule collector. On the basis of applicable international principles and provisions, such actions can be considered unlawful, but adequate enforcement and effective remedies are lacking.
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Behrisch, Tanya J. "Painting Deep Time: Encountering Landforms’ Alterity and Phusis Through Phenomenology and Oil Painting." Phenomenology & Practice 16, no. 1 (November 18, 2021): 90–107. http://dx.doi.org/10.29173/pandpr29503.
Повний текст джерелаАнотація:
The practice of oil painting landforms, rocks and sea water in Jervis Inlet, British Columbia (BC) puts me in dialogue with land’s resistant alterity. By closely attuning to landforms, and by stepping back and blurring my focus at regular intervals while practicing oil painting of landforms, I experience phusis of land and of my painting. Through self-concealment and emergence, land alternates between revealing and enfolding its character, resisting my human comprehension but speaking to more-than-human elements in myself. The slow accretive process of oil painting lends itself to phenomenological research, taking days and weeks for paint to dry before new layers can be applied. This slowness produces phusis within me as an artist, as I am forced to withdraw from the painting while its layers dry and we reassume an unfamiliarity with one another as dual subjects. Through oil painting, landforms’ alterity shifts towards familiarity. Earth’s elements originate in deep time, pre-dating human experience. Cycling within me is a repository of minerals, water, and salinity originating in deep time. This draws attention to alterity within my own body. By practicing phenomenological research through painting landforms, I encounter the phenomenological paradox of deep time and come face-to-face with the originary elemental origin I share with landforms.
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Moore, Mary B., Gudrun Ahlberg-Cornell, and Carina Weiss. "Herakles and the Sea-Monster in Attic Black-Figure Vase-Painting." American Journal of Archaeology 90, no. 1 (January 1986): 108. http://dx.doi.org/10.2307/505998.
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Cadée, Gerhard C. "Sea heart and nickar nuts in a Flemish painting of 1617." Archives of Natural History 38, no. 2 (October 2011): 353–56. http://dx.doi.org/10.3366/anh.2011.0041.
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Imbert, Claude, and Kristin Koster. "The Blue of the Sea: Merleau-Ponty, Malraux, and Modern Painting." MLN 115, no. 4 (2000): 600–618. http://dx.doi.org/10.1353/mln.2000.0050.
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Tollance, Pascale. "Painting the Cardboard House Red: Rewriting Colour in Wide Sargasso Sea." Women: A Cultural Review 31, no. 2 (April 2, 2020): 224–37. http://dx.doi.org/10.1080/09574042.2020.1767837.
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Žanja Vrbica, Sanja. "Hrvatska slikarska dionica ruskog marinista Alekseja Hanzena." Ars Adriatica 8, no. 1 (December 28, 2018): 163–78. http://dx.doi.org/10.15291/ars.2760.
Повний текст джерелаАнотація:
Within the group of lesser-known foreign painters who stayed in Croatia between the two world wars, Russian painter Alexei Hanzen (b. February 2, 1876 in Odessa – d. October 19, 1937 in Dubrovnik) stands out with his artistic achievements. Having immigrated to Croatia in 1920, he remained here for the rest of his life. Nearly two decades spent in Croatia have been a time of intense work, during which Hanzen participated in numerous exhibitions organized almost every year in Zagreb, as well as in Split, Osijek, Dubrovnik, Ljubljana, Belgrade, Paris, Buenos Aires, Prague and elsewhere. His paintings could be seen at private houses, in public and museum collections, and at various royal courts, and are nowadays part of various collections in Croatia. Early in the 20th century, Hanzen studied painting in Munich, Berlin, and Dresden, and then continued his artistic training in Paris, in the ateliers of Tony Robert-Fleury and Jules Lefebvre. He was the grandson of the famous Russian marine artist Ivan Kostantinovich Ajvazovsky, and likewise specialized in painting sea scenes, presented at various exhibitions from 1901 onwards. For his work he was awarded in Paris and Russia, and in 1910 became the official painter of the Russian Navy.
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Hung, Chang-Tai. "Oil Paintings and Politics: Weaving a Heroic Tale of the Chinese Communist Revolution." Comparative Studies in Society and History 49, no. 4 (October 2007): 783–814. http://dx.doi.org/10.1017/s001041750700076x.
Повний текст джерелаАнотація:
“In my entire life I did not produce a single painting that was uppermost in mind to create,” the celebrated painter Dong Xiwen (1914–1973) reportedly lamented on his deathbed. Dong may not have produced the dream piece that he would truly cherish, but he did create, albeit unwillingly, a deeply controversial work of art in his 1953 oil painting The Founding Ceremony of the Nation (Kaiguo dadian) (Figures 1 and 2), for it epitomizes the tension between art and politics in the People's Republic of China (PRC). In this famous piece, Dong portrays Chairman Mao Zedong (1893–1976) in Tiananmen Square on 1 October 1949, with his senior associates in attendance—Liu Shaoqi (1898–1969), Zhu De (1886–1976), Zhou Enlai (1898–1976), Gao Gang (1905–1954), Lin Boqu (1886–1960), and others. They are surrounded by huge lanterns, a Chinese symbol of prosperity, and a sea of red banners that declare the founding of a new nation. When first unveiled in 1953, the painting was widely hailed as one of the greatest oil paintings ever produced by a native artist. In just three months more than half-a-million reproductions of the painting were sold. But the fate of this work soon took an ominous turn, and the artist was requested to make three major revisions during his lifetime. In 1954 Dong was instructed to excise Gao Gang from the scene when Gao was purged by the Party for allegedly plotting to seize power and create an “independent kingdom” in Manchuria. During the Cultural Revolution in the mid-1960s Liu Shaoqi was accused of advocating a “bourgeois reactionary line” and subsequently was purged, and Dong was ordered in 1967 to redo his painting again and erased Liu from the inauguration scene. Then, in 1972, also during the Cultural Revolution, the radicals, commonly labeled the “Gang of Four,” ordered a third revision, namely, that Lin Boqu be eliminated from the painting for allegedly opposing the marriage of Mao and Jiang Qing (1914–1991) during the Yan'an days. By this time Dong was dying of cancer and was too ill to pick up the brush, so his student Jin Shangyi (b. 1934), and another artist, Zhao Yu (1926–1980), were assigned the task. These two artists, afraid of doing further damage to the original piece, eventually produced a replica of the painting, with the ailing Dong brought from the hospital for consultation on his embattled work. Though Dong died the following year, the ill-fated story of The Founding Ceremony of the Nation did not end: in 1979, with the demise of the Gang of Four and the Party's official rehabilitation of Liu Shaoqi, the images of Liu, Gao Gang, and Lin Boqu were restored in the painting. Because Jin Shangyi was on a foreign tour, Yan Zhenduo (b. 1940), a graduate of the Department of Oil Painting at the Central Academy of Fine Arts (CAFA), was called upon to help reinstall the three leaders.
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Trowbridge, Serena. "‘The very sky and sea-line of her soul’: Nature, Destruction, and Desire in Dante Gabriel Rossetti's Poems." Victoriographies 10, no. 1 (March 2020): 71–89. http://dx.doi.org/10.3366/vic.2020.0367.
Повний текст джерелаАнотація:
When critics write of ‘truth to nature’ in Pre-Raphaelite poetry and painting, they rarely refer specifically to Rossetti. While his paintings situate women in medievalised environments saturated with floral imagery, nature itself seems relegated to an aesthetic function. This trope seems to be continued in his ballads in Poems, where the natural world is allied to the female figure and can be read as directly relating to the beauty of the woman. This essay will argue for a more complex and nuanced relationship between the poet and his poetic figures. Rossetti wrote of his concern that his poems should be free of ‘painter's tendencies’ (Fredeman IV: 413), and though the parallels between his paintings and his poems have been explored thoroughly, I shall argue that there is a disjunction when it comes to the depiction of the natural world, which serves a different, less aesthetic, and more intricate function in many of the poems. This approach is best traced in ‘The House of Life’ sonnets, where the relationship between the speaker's emotions, depicted through a series of environmental metaphors, and the concepts with which he struggles is one which can be unpicked by exploring his changing approach to nature.
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Ļaviņa, Dace. "Symbiosis of Modernisation and National Identity in the Legacy of the “Baltars” (Baltic Art) Porcelain Painting Workshop, 1924–1930." Art History & Criticism 15, no. 1 (December 1, 2019): 37–55. http://dx.doi.org/10.2478/mik-2019-0003.
Повний текст джерелаАнотація:
Summary This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.
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Wilson, Kabe. "Reading the Past and the Present, Painting the Sea and the Sky." Wasafiri 36, no. 3 (July 3, 2021): 10–13. http://dx.doi.org/10.1080/02690055.2021.1918416.
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Hajdú, Attila. "A szofista Kallistratos képei az Athamas-leírásban (Callistr. Stat. 14)." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 37–59. http://dx.doi.org/10.14232/antikren.2019.4.37-59.
Повний текст джерелаАнотація:
In his last ekphrasis, the sophist Callistratus gives a vivid depiction of Athamas driven by madness, when committing infanticide. He has already killed one of his sons, Learchus, and now the victim is the other one, Melicertes .To protect the child from her husband’s fury, Ino decides to commit suicide and throws herself into the sea together with Melicertes, where Amphitrite, the savage and terrifying creature awaits them with the Nereids dancing on the waves.The author refers to this work of art as a painting (eikón) that is presented somewhere far away on the coast of Scythia, and intends to demonstrate the beauties of the painting. At first, I present my Hungarian translation of the ekphrasis of Athamas, then I focus on the question of why Callistratus would conclude this imaginary tour with a description of a painting whereas he prefers verbalizing plastic art. Finally, I attempt to explore Greco-Roman visual culture elements that may have influenced this description.
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Plaskeeva, Ekaterina, and Valery Trusov. "Inhibited composition for work in marine conditions." E3S Web of Conferences 121 (2019): 02011. http://dx.doi.org/10.1051/e3sconf/201912102011.
Повний текст джерелаАнотація:
In marine conditions, especially in the Arctic, the problems of reliability and safety of marine corrosion protection systems are relevant. Reliability can be enhanced by corrosion inhibitors. For the equipment not subject to painting, safe technologies for preservation of water-based compounds are substantiated by bioassay methods. When carrying out painting work carried out by crew members at sea, a simplified chemical surface preparation was proposed with the «NOTEH» phosphating compound with anode inhibitors. The topic of the discussion are the passivation properties of «NOTEH» according to the data on the suppression of corrosion under a layer of paint primer. To increase the safety of work, hexavalent chromium compounds were removed from the inhibiting block of «NOTEH» additives.
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Basseva, Silvy. "The Plein Air “Artists, Balchik, Love – A Meeting of European Seas“: Twenty Years of Presence on the Map of Contemporary Bulgarian Art." Visual Studies 6, no. 2 (December 12, 2022): 178–84. http://dx.doi.org/10.54664/asop9456.
Повний текст джерелаАнотація:
Over its 20-year existence, the plein air “Artists, Balchik, Love – A Meeting of European Seas” has accumulated a rich history. In all editions so far, 55 artists have taken part. This report analyzes the works created during the plein air, as well as the trends that have emerged as genres and stylistics. It is natural for so many different participants to see a great variety of paintings and creative results. Some of them even started whole cycles of works. The landscape genre dominates (natural, sea, and urban landscapes), but we also observe more decorative and abstract compositions. The authors are studied by the type of genre in which they have worked, comparing their individual creativity and outlining general trends. One of the main conclusions is that, in such a long-term plein air, most of the trends characteristic of Bulgarian painting over the past two decades can be observed.
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Kapinus, Alexander Yu. "The Genre of Marine Painting and its Varieties in the Works of the Artists of the Primorsky Region." ICONI, no. 4 (2020): 63–72. http://dx.doi.org/10.33779/2658-4824.2020.4.063-072.
Повний текст джерелаАнотація:
The article examines the work of artists of the Primorsky Region who created art works at different time periods and in different styles, in their own manner in various subgenres of the sea landscape, as well as those related to the marine theme. The author of the article analyzes the simplicity and complexity of visualizing the image of the sea wave in their works and makes a classifi cation of the genre of marine painting and proposes paths of further development of the chosen theme. Examination of the peculiarities of perceiving the nature of the sea by artists working on seashores (conditionally — “seashore artists”) and professionally working at sea makes it possible to elucidate the differences in the visualization of the sea element on the dimensions of their canvases and to penetrate more deeply into the semantic essence of the imagery of “sea inspiration”. These differences can in no way be signs of the superiority of some artists over others — they are merely different philosophical and psychological approaches to the implementation of personally endured sensory-logical experience in their works, which in general constitutes the enduring wealth of the artistic maritime culture of the Russian Far East.
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Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
Повний текст джерелаАнотація:
AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
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Meijer, Bert W. "Over Jan van Scorel in Venetië en het vroege werk van Lambert Sustris." Oud Holland - Quarterly for Dutch Art History 106, no. 1 (1992): 1–19. http://dx.doi.org/10.1163/187501792x00127.
Повний текст джерелаАнотація:
AbstractThe information we have about Jan van Scorel's presence, work and contacts in Venice around 1520-21 comes from Karel van Mander and a number of paintings, some of them dated. Of the van Scorel paintings in Venetian collections mentioned by Marcantonio Michiel, this article places the recently found Crossing of the Red Sea chronologically in the artist's 'Venetian' oeuvre. The painting is reminiscent of the triptych in Obervellach, dated 15 19. In terms of technique, colouring and figuration it is less dependent on Venetian painting than Tobias and the Angel in Düsseldorf, dated 1521. With regard to a number of compositional and iconographical elements, on the other hand, Scorel's Crossing seems to draw on Titian's large woodcut of the same subject. The Amsterdam painter Lambert Sustris went to Venice about fifteen years after van Scorel. In the 1540s he settled in Padua. Sustris is chiefly known for his portraits and for his landscapes with religious and mythological themes, some of which are of outstanding quality. They unite the northern and Venetian, notably Titian, traditions in a suggestive manner, often featuring antiquary and Raphaclesque elements. In this article new arguments are presented in favour of Peltzer's assumption that Sustris was a pupil of van Scorel's, probably around 1530. In that connection the Sermon of John the Baptist (Utrecht, Centraal Museum), formerly regarded as van Scorel's work and bearing a signature commencing with the letter L and otherwise illegible, is attributed here to Sustris. Sustris may also have designed two frieze-like prints with hunting representations, which exhibit Scorelian traits in the landscape and elsewhere. The powerful influences of classical art and Raphael on the figures and composition apparently stem from Sustris' sojourn in Rome. In view of the fact that these prints are clearly devoid of the 'venetianized' style on which Sustris embarked shortly before 1540, the artist's designs probably predate his move to the Venetian Republic.
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LUNYOVA, T. "EKPHRASIS AND META-EKPHRASIS IN JULIAN BARNES’S ESSAY “GÉRICAULT: CATASTROPHE INTO ART”: A COGNITIVE POETIC ANALYSIS." Philological Studies, no. 33 (April 19, 2021): 75–82. http://dx.doi.org/10.33989/2524-2490.2020.33.228247.
Повний текст джерелаАнотація:
The article discusses the semantic aspects of ekphrasis and meta-ekphrasis in Julian Barnes’s essay “Géricault: Catastrophe into Art” from the cognitive poetics perspective. In his essay, Barnes dwells upon the history and interpretations of Géricault’s masterpiece which represents the survivors of the wreck of a French frigate in 1816. The aim of the study is to reveal the semantic integration of ekphrastic contexts (those parts of the essay which provide description of a painting) and meta-ekphrastic contexts (those parts of the essay which are not descriptions of a painting per se, however they only develop their meaning in connection with ekphrastic contexts). The article suggests using the term meta-ekphrasis to account for the textual contexts which while being semantically related to ekphrasis, do not offer a painting description but a narration about some events related with the painting or ideas inspired by looking at the painting. Used in this meaning, the term meta-ekphrasis is utilised in the paper to reveal the development of Barnes’s original idea about tragedy and art in his essay. The research is grounded in cognitive poetic approach to ekphrasis and employs cognitive poetic instruments of analysis. It presents the results which demonstrate that the main cognitive poetic means that ensure semantic interaction of ekphrastic and meta-ekphrastic contexts in Barnes’s essay are the following: dialogism, hypothetical modality and conceptual metaphors with the source domain of SEA NAVIGATION. It is the semantic integrity of ekphrastic and meta-ekphrastic contexts in Barnes’s essay that allows the writer to present his unconventional treatment of tragedy as being purposeful since it produces art. The article can be of interest to the scholars of sematic interaction between verbal and visual texts as well as cognitive poetic facets of prose texts.
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Stoker, Wessel. "De Rothko kapel schilderijen en de ‘urgentie van de transcendente ervaring’." NTT Journal for Theology and the Study of Religion 62, no. 2 (May 18, 2008): 89–105. http://dx.doi.org/10.5117/ntt2008.62.089.stok.
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Since the Romantic period, painters have no longer made use of traditional Christian iconography to express religious transcendence. Taking their cue from Schleiermacher’s Über die Religion, painters have sought for new, personal ways to express religious transcendence. One example is Caspar David Friedrich’s ‘Monk by the Sea’. Rosenblum argues, in his Modern Painting and the Northern Romantic Tradition, that there is a parallel between Friedrich and the abstract expressionist Rothko with respect to the expression to religious transcendence. In this article I investigate how the experience of transcendence that Rothko’s paintings want to evoke is to be described. Is it an experience of the sublime in the Romantic tradition? Is it the evocation of the ultimate in accordance with Tillich’s broad concept of religion? Does it display affinity between Rothko and the postmodern sublime of Lyotard? Or is it a transcendent experience that cannot be situated so easily within the options supplied? After determining Rothko’s understanding of transcendence, some issues will be brought up that could be fruitful for Christian theology.
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Onnekink, David. "The Language of the Sea: Flags and Identities in Early Modern Dutch Marine Painting." Early Modern Low Countries 4, no. 1 (June 14, 2020): 1. http://dx.doi.org/10.18352/emlc.126.
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Bangs, Jeremy D., and M. Russell. "Visions of the Sea, Hendrick C. Vroom and the Origins of Dutch Marine Painting." Sixteenth Century Journal 16, no. 3 (1985): 390. http://dx.doi.org/10.2307/2540230.
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Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.
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The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.
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Lifshitz, Lev Yuryevich, and Daria Vladimirovna Fomicheva. "Stained Glass Painting Technique in the 19th Century. The Review of Henry James Snell's "Practical Instructions in Enamel Painting on Glass, China, Tiles, etc." (London, 1874). Part I." Secreta Artis 4, no. 4 (May 11, 2022): 30–41. http://dx.doi.org/10.51236/2618-7140-2021-4-4-30-41.
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Генри Джеймс Снелл (1842-1927) - известный английский мастер росписи по керамике и витражной живописи (выполнил более 3000 витражных окон), его мастерские находились в Лондоне и Брайтоне (графство Восточный Суссекс). Снелл также разрабатывал технологию добычи золота из морской воды, которую пытался наладить в промышленных масштабах (см. его книгу «Mr. Henry James Snell’s Process for the Extraction of Gold from Sea-Water (Works, Plants, etc., etc.)»). Автор пьес, стихов и песен, отец 17-ти детей. Ниже предлагаем читателям SA обзор материалов руководства Г. Дж. Снелла по витражу в сопровождении комментариев Л. Ю. Лифшица. Описанные Снеллом стадии работы, инструменты и технологии актуальны по сей день.
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Goodarzparvari, Parnaz, Francisco Carlos Bueno Camejo, and Miguel Molina Alarcon. "From the Caspian sea to Alboran sea; an overview of the personality similarities between Bahman Mohasses and Pablo Picasso." Revista Sonda: Investigación y Docencia en Artes y Letras 10 (December 31, 2021): 187–202. http://dx.doi.org/10.4995/sonda.2021.17828.
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Bahman Mohasses is one of the artists who emphasize his unique personal art, style and look in creating his works, both in the field of painting and sculpture. He transcends the superficial and dramatic manifestations of modern schools and at the same time the outward manifestations of the Iranian visual tradition, and finds remarkable success in inventing his personal identity. Critics, friends and followers consider his work to be influenced by the most famous Spanish artist of the twentieth century, Pablo Picasso. Beyond technique and style, the influence of Picasso’s personality on him and the spiritual similarities between the two are sometimes astonishing. What sets Mohasses apart from many Iranian artists, in addition to his unique technique among Iranian painters, was his dark and bitter look in his works. Although many of Mohasses’ early works are technically close to those of European painters of the 1920s and 1930s, their main origins are in Picasso’s Cubist style. Perhaps for this reason, many Iranian painters and art critics consider Bahman Mohasses to be the most complete Iranian painter by European standards and even know him as the Iranian Picasso.
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Cox, Matt. "The Painting of Prostitutes in Indonesian Modern Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 41–63. http://dx.doi.org/10.1353/sen.2017.0013.
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Kim, Seong Jong, Min Su Han, and Seung Jun Lee. "Effect of Zn Primer Coating on Electrochemical Properties in Seawater." Advanced Materials Research 811 (September 2013): 46–53. http://dx.doi.org/10.4028/www.scientific.net/amr.811.46.
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Conventional ships generated almost no cavitation erosion because they traveled at low speed. Thus, most ships have used painting, ICCP and sacrificial anode system. However, with the activation of international trading, and the increase of low-price, large-volume cargos, ships are becoming larger and faster. As a result, damages due to cavitations and corrosions have accelerated. Cavitation and erosion corrosions cause damages to materials by physical shock waves generated from the collapse of bubbles which are generated when the moving parts rotate in seawater. The stern in particular is exposed to more severe environment due to cavitation and high flow speed. When cavitation and electrochemical damages are combined with exposure to severe environment, it has serious impact on the life span of equipment. Therefore, this study investigated the electrochemical and cavitation characteristics in sea environment for Zn primer coating which is a pretreatment process of painting for rudders for ships. As a result, corrosion resistance improved, but erosion resistance did not.
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Nekrasov, Dmitry Yurievich. "Fractal graphic as digital objectless art." Journal of Flm Arts and Film Studies 6, no. 1 (March 15, 2014): 68–76. http://dx.doi.org/10.17816/vgik6168-76.
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This article analyses the phenomenon of digital computer graphics, based on mathematical calculations, and possibilities of using it in different modern art techniques. Digital fractal patterns are irregular, self-similar structures, which are based on natural objects' group of similar characteristics, such as: corals, starfishes, sea urchins, snowflakes, crowns of the trees. The principle of such image shaping is natural, so its worthwhile to trace down it's digital mathematic simulation. Contrary to digital graphic and painting, fractal graphic does not base on classic art traditions. The closest to the fractal graphics are objectless ornamental traditions, inheriting principles of infinite spatial creation of similar groups. The article includes the comparison of general ornamental rules and features of fractal images. Due to the fact that modern computer software allows to create the digital fractal graphics without special mathematical skills, an artist can combine traditional and digital painting and abstract fractal graphic to reach that level of balance and fortuity of an image, that abstract artist has tried to get, using traditional techniques. The fractal graphic is examined as a digital counterpart of traditional painting technique of monotyping in complex art work. Author underlines the likeness of many digital and material ways of creating images. Finally, the visual language of a piece of art still remains more important, than technological details of its production.
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Stankiewicz, Aleksander. "„Bitwa pod Lepanto” Tomasza Dolabelli z Kaplicy Różańcowej przy kościele podominikańskim w Poznaniu." Seminare. Poszukiwania naukowe 2020(41), no. 3 (September 30, 2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.10.
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The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.
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Niegowski, Krzysztof. "XXXI Międzynarodowy Festiwal Muzyki Religijnej im. ks. Stanisława Ormińskiego w Rumi (Rumia, 24-26.10.2019)." Seminare. Poszukiwania naukowe 2020(41), no. 3 (September 30, 2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.11.
Повний текст джерелаАнотація:
The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.
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Heckenberg, Kerry. "Out of the Frying Pan: Voyaging to Queensland in 1863 on Board the Fiery Star." Queensland Review 17, no. 2 (July 2010): 37–52. http://dx.doi.org/10.1017/s1321816600005407.
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This article had its genesis in a family photograph of my paternal grandmother's parents, Rowland and Rebecca Walton (see Figure 1). I knew little about them apart from their English origins, but their appearance was intriguing: definitely stalwart pioneers, but what kind of pioneers? Popular cultural knowledge in Australia provides one central image of the pioneer, summed up concisely by Katharine Susannah Prichard: ‘It will be a nation of pioneers, with all the adventurous, toiling strain of the men and women who came over the sea and conquered the wilderness.’ Prichard's notion was directly inspired by a painting, The Pioneer (1904) by Frederick McCubbin (1855–1917), described by Tim Bonyhady as ‘one of the most influential paintings of the emigrant experience in Australia’. Utilising a triptych fonnat, it recounts (in the words of a contemporary reviewer) ‘its own legend of the useful toil, the homely joys, and destiny obscure of the pioneer, who does not live, as the rude cross in the third panel indicates, to see the growth or share in the prosperity of the fine city seen in the background of the panel’.
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Candelaria, Lorenzo. "Hercules and Albrecht Dürer’s Das Meerwunder in a Chantbook from Renaissance Spain *." Renaissance Quarterly 58, no. 01 (2005): 1–44. http://dx.doi.org/10.1353/ren.2008.0579.
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Abstract This article centers on two images from the life of Hercules and a border painting modeled after Albrecht Dürer’s engraving Das Meerwunder (ca. 1498) in a Kyriale produced ca. 1500 for a Dominican convent in Toledo, Spain. It discusses the cultural significance of Hercules in Spain, and Toledo in particular, then presents a contextually sensitive reading of the image derived from Dürer’s enigmatic engraving, whose subject has yet to be identified. The image in the Kyriale appears to represent Hercules’ once-famous rescue of the Trojan princess Hesione from a sea monster.
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Dinnis, Rob. "The archaeology of Britain&s first modern humans." Antiquity 86, no. 333 (September 2012): 627–41. http://dx.doi.org/10.1017/s0003598x00047815.
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The sites of the first modern humans who occupied what is now Britain have been reduced to a handful by subsequent glaciation and the rise in sea level, and their assemblages have been further depleted because early excavators ignored the microliths. Confronting the challenges of this exiguous material, the author succeeds in painting a vivid picture of Aurignacian hunters following prey down the now submerged Channel River Valley, colonising the preferred hilly zones at the west of Britain. The presence of two types of bladelet manufacture suggests a lengthy or repeated period of subsequent occupation.
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Chen, Gu Xiang. "Rational Spirit for Painting Theory of the Song Dynasty." STUDY OF THE EASTERN CLASSIC 59 (June 30, 2015): 405–28. http://dx.doi.org/10.16880/sec.2015.59.15.405.
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Bormpoudaki, Maria. "Figures of mounted warrior saints in medieval Crete. The representation of the equestrian Saint George “Thalassoperatis” at Diavaide in Heraklion." Zograf, no. 41 (2017): 143–56. http://dx.doi.org/10.2298/zog1741143b.
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In the church of Saint George Sfakiotis, built on the outskirts of the settlement Diavaide in the Perfecture of Heraklion in Crete, narrative interest is focused on the large painting with the mounted figures of the military saints George and Demetrios. Saint George is shown together with the young pillion rider, whereas the element of water on the lower part of the scene establishes a connection between the episode of the slave?s release and a rarer variant according to which the liberator saint crosses the sea (?thalassoperatis?, trans. he who crosses the sea). The iconographic and stylistic analysis of the representation of Saint George as well that of Saint Demetrios at Diaviade reflects the artistic environment of the Eastern Mediterranean, possibly that of Cyprus, where images of equestrian military saints form part of the tradition of the island.
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Dickey, Paul. "Her Grief, and: Mother Sits in Front of Her Friend's Painting of the Sea of Galilee." Prairie Schooner 94, no. 2 (2020): 53–55. http://dx.doi.org/10.1353/psg.2020.0042.
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Mani, B. Venkat. "Rights, Permissions, Claims: World Literature and the Borders of Reading." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 144–49. http://dx.doi.org/10.1632/pmla.2019.134.1.144.
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In 2016, in the midst of the en masse arrival of refugees in europe, the austrian library association brought out a welcome poster, a Willkommensplakat. At the center of the poster is a human figure with his back toward the viewer, standing upright on a stack of books. The figure bears an uncanny resemblance to the man in Wanderer above the Sea of Fog (circa 1817), the famous painting by the German romantic painter Caspar David Friedrich. In the welcome poster, however, Friedrich's willful, romantic wanderer, standing on the solid ground of rocks, is replaced by a migrant, forced to leave his nation of residence, seeking refuge, perched on precarious grounds. Instead of a sea of fog, the figure in the poster faces a vast screen, on which the word “welcome” is spelled out in twenty-nine world languages from Arabic to Yoruba, including sign language.
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Kunitsin, G. A., А. А. Pridein, O. V. Samokhina, D. V. Nizhel’skii та E. M. Gitman. "Elaboration of weatherproof steel 06гн3мд for structures of bridges exploited in coastal zone". Ferrous Metallurgy. Bulletin of Scientific , Technical and Economic Information 77, № 7 (1 серпня 2021): 811–19. http://dx.doi.org/10.32339/0135-5910-2021-7-811-819.
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At present decreasing of costs and increasing of efficiency are the most priority directions in any industry. Developing in this way, JSC “Ural steel” together with FGUP “CNIIchermet after I.P. Barding” had mastered production of sheet metal product with increased resistivity against atmosphere corrosion made of steel 14ХГНДЦ for construction of bridges. Because of specific chemical composition of the steel, in the process of metal structures running in the open air, a solid strong oxide film is formed on the metal of the structures which prevents further corrosion without painting. For bridge builders elimination of costly operation of painting of span structures will enable to decrease considerably the costs of bridges construction and running. Having many advantages, steel 14ХГНДЦ has some restrictions in applications for steel structures without painting, as follows: - in sea zone according to domestic norms no close than 500 m from coastline; - in case of disorderly conditions of protective film formation and/or application of salt solutions for surface cleaning (as a rule the restrictions refer to traffic area of bridge span). In view of that for JSC “Ural Steel”, as the leading producer of bridge steel in Russia, an actual task erose: to elaborate and create a weatherproof steel, which could not only operate the whole period of a bridge running without additional protection at bridges construction through sea areas or close to coastline, but also withstand severe climate conditions of our country, including areas of High North with temperature lower -50°С. To solve the task together with OJSC “Institute Giprostroymost” and JSC BNIIZhT, a research work was accomplished to elaborate a system of alloying new steel 06ГН3МД with nickel content ~3.0 %, as well as production modes ensuring required corrosion resistance for operation in sea zone. Results of laboratory studies of the new weatherproof steel 06ГН3МД for application in bridge structures for coastal conditions and sea areas presented. Results of mechanical, technological, corrosion as well as fatigue tests of rolling products of the elaborated steel presented. It was established by laboratory studies that the new steel is weatherproofed and ensures lower corrosion losses, higher impact toughness at negative temperatures and plasticity comparing with steels used at present. It was shown that the strength class, technology and modes of factory welding of steel 06ГН3МД meet the requirements to steel span structures of bridges. Base on the results of the studies, the chemical composition of the steel 06ГН3МД was specified, as well as modes of heat treatment, ensuring the required characteristics with significant acceding. It was established that samples of the new steel 06ГН3МД showed considerably higher corrosion resistance - in average by 20% comparing with steel 14ХГНДЦ. At that corrosion resistance tests of welded joints of the new steel showed even higher resistance of the seam comparing with the basic metal, which speaks about quality selection of welding modes and welding materials.
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Kleutghen, Kristina. "Staging Europe: Theatricality and Painting at the Chinese Imperial Court." Studies in Eighteenth Century Culture 42, no. 1 (2013): 81–102. http://dx.doi.org/10.1353/sec.2013.0000.
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Jiang, Chengzhi, and Chunshen Zhu. "Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)." Semiotica 2018, no. 225 (November 6, 2018): 293–311. http://dx.doi.org/10.1515/sem-2016-0226.
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AbstractThis paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues, the study has closely examined a classical landscape painting in conjunction with its Chinese and English bilingual museum captions, with a view to tracing out their discursive meta-functions based on the visual-verbal coherence of distance representation. In so doing, the study takes museum discourse as a holistic multimodal interactive process of different sign systems at three levels of communication (i.e. extratextual, intersemiotic, and intertextual) to enable the modern viewer to better appreciate the aesthetic aspiration nursed by the meaning of the pictorially depicted distance(s) in an ancient landscape painting. The findings of the study will not only contribute to a better aesthetic contextualization of the traditional Chinese visual arts but also, in a practical vein, to the construction of a more informed museum discursive environment conducive to a spiritual journey, or a mental transcendence, that keeps the mundane world at a “meditative distance.”
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Kang, Jianjun, Zhili Luan, and Chunping Li. "Map representation: all the land and sea which is written." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 28. http://dx.doi.org/10.56028/aehssr.1.1.28.
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Space cannot exist only as a given place where social relations and social processes operate, which would imprison the spatial imagination of literary geography. The absence of the spatial dimension in social theory largely reduces the imagination of geography and the creativity of literature. Literary painting has become a key way of understanding our world, and literature creates a much grander world. Every time we open a nautical chart, we find the lost imperial sailors on the edge of the world, winding up on the voyage. Spatial cognition is an important area of research in cognitive science, and the problem of space is first and foremost a problem of geography, but also an important problem that is being studied in psychology, cartography, information science, computer science, and artificial intelligence, among other disciplines. A map is a planar representation of land territorial possession and maritime territorial possession, and at the same time, a map embodies a transcendent knowledge or a symbol of absolute power. Along with the exploration of new worlds and the reorganization of old societies, we can see that maps are at the same time an expression of language and an expression of emotion while reading the space they bring us.
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Koprowski, Piotr. "Malarstwo ikonowe tradycji bizantyjskiej." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 85–98. http://dx.doi.org/10.14746/seg.2015.12.4.
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The article seeks to reflect upon the manner of perceiving reality (the so-called reversed perspective) associated with the Byzantine tradition of icon painting which was in evidence in the Ruthenian and Russian cultural circle from the 12th to the first half of the 17th century.
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Drakopoulou, Eugenia. ""Pittura Romeica" in Italy: Artistic transfers across the Adriatic sea (18th - 19th centuries)." Historical Review/La Revue Historique 13 (February 24, 2017): 7. http://dx.doi.org/10.12681/hr.11553.
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The complex historical reality of the Adriatic region, an area located even today on the borderline between East and West, is reflected in the works of religious painting and in the painters’ geographical movements. The art of Orthodox regions was mainly influenced by Venice, but also by the rest of Italy, and, as a result, a unique art emerged in the Ionian Islands, which remained under Venetian control until the end of the eighteenth century. In the course of the eighteenth century, political and economic conditions contributed to the growth of the Orthodox communities in Italy. Their members were interested in the art of the country where they lived and prospered, but they simultaneously wished to preserve the “pittura romeica” in the decorations of churches and in the icons used for their personal worship. From Naples to the cosmopolitan Trieste, Orthodox painters, coming mainly from the Ionian Islands, produced artworks which were adapted to the new surroundings, thereby making the Adriatic region once again a privileged area for cultural exchanges.
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Boksa, Michał. "Listy Feliksa Nowowiejskiego (1877-1946) do Adama (1875-1965) i Marii (1877-1952) Wrzosków z 1936 r. (ze spuścizny Adama Wrzoska w Polskiej Akademii Nauk Archiwum w Warszawie Oddział w Poznaniu)." Przegląd Archiwalno-Historyczny 3 (2016): 213–24. http://dx.doi.org/10.4467/2391-890xpah.16.011.14899.
Повний текст джерелаАнотація:
Tekst zawiera przedruk korespondencji kompozytora Feliksa Nowowiejskiego z prof. Adamem Wrzoskiem i jego żoną Marią z roku 1936, przechowywanej w zbiorach Polskiej Akademii Nauk w Warszawie Oddział w Poznaniu. Tematyka listów dotyczy mało znanej „Pieśni do Matki Boskiej w Dębkach, nad morzem”. Utwór skomponowano ku czci cudownego obrazu Matki Boskiej Królowej Korony Polskiej znajdującego się w kaplicy w Dębkach (pow. pucki), który F. Nowowiejski oglądał zapewne podczas pobytu wakacyjnego w tejże miejscowości. Letters of Feliks Nowowiejski (1877–1946) to Adam (1875–1965) and Maria (1877–1952) Wrzosek from 1936 (from the heritage of Adam Wrzosek in the Polish Academy of Sciences in Warsaw, Poznań branch) The text includes a reprint of letters exchanged in 1936 between composer Feliks Nowowiejski, and professor Adam Wrzosek and his wife, Maria, included in the collection of the Polish Academy of Sciences in Warsaw, Poznań branch. The letters discuss “The song to Our Lady of Dębki by the sea”, a little-known work of the composer. It was composed in honor of the miraculous painting of Our Lady, Queen of the Crown of Poland. The painting can be admired in the chapel in Dębki (Puck county), and Feliks Nowowiejski had probably seen it while spending his holidays in this particular resort.