Studien zu Seest羹cken von Johann Teyler. Untersuchung von f羹nf niederl瓣ndischen Kupferstichen
Bachelorarbeit aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Note: 1,0, Friedrich-Alexander-Universit瓣t Erlangen-N羹rnberg (Kunstgeschichte), Sprache: Deutsch, Abstract: Diese Arbeit widmet sich der Untersuchung von f羹nf Seest羹cken von Johann Teyler. Diese f羹nf niederl瓣ndischen Kupferstiche stammen aus der Graphischen Sammlung der Erlanger Bibliothekssammlung. Im Katalog der Druckgraphiken nach Kessler-Luhde werden sie unter der Nummer AK 2356 - AK 2360 verzeichnet. AK 2356 - AK 2358 stammen von der gleichen Platte, sie variieren jedoch innerhalb der Farbgestaltung und Nachbearbeitung. Gleiches kann bei den Graphiken AK 2359 und AK 2360 beobachtet werden. F羹r die Untersuchung m羹ssen die f羹nf Seest羹cke zun瓣chst nach ihrer gleichen Motivik in Reihe A (AK 2356 - 2358) und B (AK 2359 - 2360) eingeteilt werden. Die Bl瓣tter mit unklarer Zuschreibung sollen im Folgenden technisch und motivisch untersucht, miteinander verglichen und in die Tradition der niederl瓣ndischen Seest羹cke eingeordnet werden. In diesem Kontext soll auch auf die besonderen historischen Gegebenheiten in den Niederlanden des 17. Jahrhunderts eingegangen werden, um die Bedeutung der Seest羹cke vor dem Hintergrund ihrer Epoche zu erfassen. Hierbei interessieren besonders politische und 繹konomische Faktoren. Des Weiteren wird in dieser Arbeit die bisherige Zuschreibung an den Niederl瓣nder Johann Teyler diskutiert und eine Vermutung, wie die Bl瓣tter in die markgr瓣fliche Sammlung geraten sein k繹nnten, formuliert werden.
Anno XVIII Dell’era Di Tiberio
Viviamo la vita nella quotidianit? senza comprendere quasi nulla delle vicende del mondo. Non ci accorgiamo nemmeno dei meccanismi che sono alla base del nostro vivere: l'emotivit?, la gioia, l'amore. La nostra societ? 癡 distratta dalla consuetudine e le persone non si soffermano a contemplare il pensiero, o a porsi delle domande e a darsi delle risposte. Si preferisce comportarsi come certi genitori o insegnanti che, con una scrollatina di spalle, rinviano le risposte a nozioni metafisiche in modo quasi sempre vago e sbrigativo. Per fortuna un numero crescente di giovani, di ragazzi, non esita a porsi interrogativi e di tanto in tanto si danno delle risposte davvero sorprendenti. Questo romanzo, assai breve per la verit?, non ha pretese di ricostruire storicamente fatti ed eventi di duemila anni fa. Semmai vuole mettere sotto una lente di ingrandimento l'universalit? della parola "Amore" con parole che solo poeti dello stile di Kalil Gibran sanno esprimere: Non chiamare stolto nessuno tra voi, giacch矇 in verit? noi non siamo n矇 saggi n矇 stolti. Siamo verdi foglie sull'albero della vita, e la vita stessa 癡 al di l? della saggezza e, certo, al di l? della stoltezza. E la domanda consegue spontanea: Che cos'癡 allora la verit??. Ho cercato di comprendere il senso di questa parola. La mia risposta alla domanda per me non 癡 stata semplice. Non ci si aspetta di conoscere la verit? subito, la verit? ha bisogno del suo tempo per emergere nella sua luce folgorante dalla notte in cui le circostanze l'hanno tenuta prigioniera. Desidero ringraziare la pittrice Maddalena Crudo, in arte Anel Durco, per avermi concesso l'autorizzazione ad usare come copertina del libro la foto di un suo pregevolissimo dipinto.
Czech Routes To Britain
Czech Routes To Britain is the catalogue for fourth in Ben Uri's series of exhibitions designed to highlight the contribution of immigrant artists to Britain since 1900, succeeding previous exhibitions on German, Austrian and Polish artists in 2016, 2017 and 2018. The exhibition marked the formal opening of the reconfigured museum and its extensive art reference library and archive, both key components of BURU, the Ben Uri Research Unit for the study of the Jewish and immigrant contribution to the visual arts in Britain since 1900.
Die Grablegung Christi von Michelangelo Merisi da Caravaggio
Studienarbeit aus dem Jahr 2019 im Fachbereich Kunst - Bildende K羹nstler, Note: 1,7, Friedrich-Schiller-Universit瓣t Jena (Philosophische Fakult瓣t), Veranstaltung: Einf羹hrung in die Bildk羹nste, Sprache: Deutsch, Abstract: Die Arbeit wird zuv繹rderst an das Kunstwerk der Grablegung Christi von Merisi da Caravaggio heranf羹hren. Nach einer ausgiebigen Beschreibung wird das Kunstwerk mit anderen im Kontext stehenden Werken unter Ber羹cksichtigung einiger Aspekte, wie die Darstellung des Hauptprotagonisten Jesus Christus in diesem Werktypus oder auch der in Szene Setzung der Szenerie, verglichen. Abschlie?end wird eine Kontextuierung der Umsetzung zu der Auslegung der Verbindung zur Eucharistie vorgenommen. Nebst der vorliegenden Untersuchung zur m繹glichen umgesetzten Darstellung der Eucharistie, sollen Parallelit瓣ten und Differenzen zu Darstellungen der Heimtragung des Meleagers aus einem Sarkophag und einem Relief der Antike, einer Skulptur der Piet? des Michelangelo Buonarottis und Umsetzungen des Bildtypus der Grablegung, im Medium der Malerei selbst, von Raffael und Tizian, aufgezeigt werden.
Der Neubau des St. Peter-Doms in Rom. Diskussion der Entscheidung und ein m繹glicher Entwurf
Studienarbeit aus dem Jahr 2018 im Fachbereich Kunst - Kunstgeschichte, Note: 1,7, Friedrich-Schiller-Universit瓣t Jena (Philosophische Fakult瓣t), Veranstaltung: Einf羹hrung in die Architektur, Sprache: Deutsch, Abstract: Diese Arbeit verhandelt eine Entscheidung zum Neubau des St.Peter-Doms in Rom. Zur Errichtung des Zentrums der Christenheit, St. Peter in Rom, in der Form wie wir es heute kennen, war es ein langer Weg. Neun Bauleiter und 羹ber 100 Jahre Bauzeit brauchte es um den Petersdom zu errichten. In dieser Hausarbeit werden, nach einer Hinf羹hrung zur Entscheidung des Neubaus, die Entw羹rfe von insgesamt vier der Bauherren betrachtet und zum Teil auch verglichen. Warum ich diese Darstellung nach dem vierten Bauherren beende, bezieht sich zum einen auf den sonst 羹berschreitenden Umfang, zum anderen auf die Arbeitsweise des letzten hier aufgef羹hrten Bauherren Michelangelo, auf welchen ich in meinem letzten Kapitel eingehe. In der Literatur finden sich einige divergente Aussagen und Forschungsergebnisse, diese alle zu ber羹cksichtigen w羹rde den Rahmen dieser Hausarbeit sprengen. Warum sollte 羹berhaupt ein neues Geb瓣ude entstehen und wenn ja in welcher Form? Da sich nicht immer ein konsistenten Bild dieser Fragen in der Literatur findet, werde ich in der folgenden Arbeit einige Parallelen und auch Unterschiede aufzeigen. Zur Unterst羹tzung und Visualisierung des Bau- und Planverlaufs dient die selbst erstellte Abbildung 18.
La calomnie d’Apelle consid矇r矇e comme th癡me iconographique
R矇ponse et renvoi ? l'analyse du Songe du Docteur faite dans notre ouvrage ant矇rieur correspondant ? cette oeuvre, il s'agit ici d'une 矇tude de l'All矇gorie des Vices de Mantegna comme symbole pr矇figuratif des motifs de l'iconographie protestante, d'apr癡s une approche historique du lien de la dynastie de Mantoue aux pr矇-r矇formateurs, de l'amiti矇 incompl癡te entre Mantegna et D羹rer, des figures de l'oeuvre 矇tudi矇e, comme les oreilles d'璽ne, par rapport aux harangues de Giordano Bruno. Approche du motif de la figure aux yeux band矇s et au double objet comme point focal d'une r矇vision n矇o-warburgienne dudit motif, mis en comparaison avec l'iconographie de la R矇forme, celle des Saint J矇r繫me et de la Dormition de la Vierge de D羹rer, l'embl矇matique de l'矇poque et les rituels du Sic transit gloria mundi.
Exaltare und Stabilire - Legitimierungsstrategien der Medici im ?bergang zum Herzogtum
Die Autorin untersucht den Aufstieg der Medici, die durch geschicktes Agieren in den Bereichen 竄Territorium, Dynastie und Diplomatie sowie Memoria罈 zu 竄Herz繹gen der Republik罈 avancierten. Insbesondere dem zweiten Herzog Cosimo I. (1537-1574) gelang es, die Stellung der Familie auf Dauer zu festigen. Die Autorin betrachtet Theorie und Praxis fr羹hneuzeitlicher Legitimit瓣t und erweitert das bislang gebr瓣uchliche methodisch-begriffliche Repertoire. Das Buch bereichert die prim瓣r kunstgeschichtlich orientierte Mediciforschung um neue Forschungsans瓣tze und leistet einen Beitrag zum besseren Verst瓣ndnis fr羹hneuzeitlicher Herrschaftsstrukturen.
A Manual of Ancient Sculpture, Egyptian, Assyrian, Greek, Roman
On October 26, 1895, George Redford passed away after an illness. He had lived 80 years, his life spanning very different callings. He was remembered as one being well traveled in art circles, a fan of the old masters in particular. As the art correspondent for the London Times, his judgments were well regarded. He was worked with the Art Treasures Exhibition of Manchester, as well as serving as a Commissioners of the Leeds Exhibition. He was Registrar of the Crystal Palace Collection of Sculpture in 1853-1854; Curator of the Art Treasures Exhibition in Manchester, 1857; and Commissioner for the National Exhibition of Works of Art, Leeds, 1868. His memorable art library was sold by Christie's, London, on 18 March 1890. Redford had a very interesting and varied life. He was not always involved in art, as he was once on the battlefield. Redford was a medical professional who had served in the Army Medical Service during the Crimean War.
Evil, Sexuality, and Disease in Gr羹newald’s Body of Christ
This wonderfully readable work by the Jungian analyst Eugene Monick is about an equally wondrous, if difficult, artwork. Gr羹newald's famous Isenheim altarpiece, now located at Colmar in the Alsatian part of France, contains a strange and troubling image: a portrayal of Jesus's body, skin yellowed and greened, covered with pus and scabs, thoroughly diseased. This image - what archetypal psychologists Rafael L籀pez-Pedraza, Niel Micklem, and Alfred Ziegler, following the poet Jos矇 Lezama Lima, have called an "intolerable image" - constitutes both the wondrous and difficult dimensions of Monick's theme. Surprising as it may seem with so distressing a topic, and like the Isenheim altarpiece itself, this book offers relief, a "welcome remedy to incessant blame," as Monick himself puts it, an antidote to "the huge and fruitless effort of seeking a perfect and stainless way." The fascination, then, is in seeing how a blemished image of Jesus paradoxically constitutes precisely a Christic sense of self without blemish. (David L. Miller)
Le Grand Verre de Marcel Duchamp
Premi癡re r矇vision contextuelle du Grand Verre ? partir de la comparaison avec les courts-m矇trages d'avant-garde, la V矇nus de Peale, la salle gyn矇cologique de Pozzi, d'une part, et avec les oeuvres et les 矇crits de artistes contemporains, aussi bien de Fabrique de Joie de Suzanne Duchamp, que des La Pri癡re de Man Ray pr矇figurant la version de la Mari矇e de 1968, d'Ernst, Brauner, Picabia ou Tzara. D'autre part, l'ouvrage pr矇sente une 矇tude formelle des motifs du Grand Verre, tel que le principe d'escalier, que l'on retrouve dans les courts-m矇trages d'avant-garde, comme des instruments gyn矇cologiques que l'on peut reconna簾tre dans la trompe, et les liens aux toiles de Picabia et d'Ernst. Et en litt矇rature nous montrerons les liens 矇vidents entre les symboles de "L'Idole" rimbaldienne et ses cons矇quences chez Picabia ou Duchamp, "Le Roi-Lune" de Guillaume Apollainire et avec l'"anus solaire" de Bataille.Finalement se posera, donc, plus g矇n矇ralement, la question jamais jusqu'ici pos矇e de l'intertextualit矇 de l'oeuvre de Duchamp par rapport ? celles de ses contemporains, ou des artistes juste ant矇rieurs, tels Fernand Khnopff ou Alfred Kubin.Parall癡lement, on montrera, en correspondance avec notre ouvrage sur Magritte, l'importance de L'Interpr矇tation des R礙ves de Freud dans l'矇laboration symbolique th矇matique des motifs de l'avant-garde.
The Complete History of Peanuts on Parade - A Tribute to Charles M. Schulz
PEANUTS On Parade was the biggest tribute to PEANUTS creator, Charles Schulz, as it spanned over nine years in two states with over eight hundred statues of PEANUTS characters. Hosted by St. Paul, MN (2000-04) and Santa Rosa, CA (2005-07, '10), over five million fans from all fifty states and over sixty different countries searched for nearly eight hundred unique and individually designed five-foot statues of the Peanuts gang; each year featuring a different character. Go behind the scenes from the first discussions in the Mayor's office in 2000 to the final statues of 2010. Every step of PEANUTS on Parade is contained in these books. It all began as a modest tribute in St. Paul, MN as they wanted to honor one of their hometown heroes and was only slated to run for a single year. But the public demand was so overwhelming, it continued to run for another four years. After that, the tribute moved to Santa Rosa, California, home of the Charles Schulz Museum, where it ran for another three continuous years through 2007 plus an "encore" year in 2010. Each year wrapped up with an auction in which several statues went up for bids, each selling for thousands of dollars. The money raised paid for permanent bronze statues in both St. Paul and Santa Rosa, and began an art scholarship program in Schulz name which is still active today. Volume Two continues the Charles Schulz tribute after relocating to Santa Rosa. Charlie Brown, Woodstock, and Snoopy as Joe Cool were each highlighted in consecutive years in the city Charles Schulz called home for almost half of his life. This collection contains photos of every statue, an explanation behind each piece of art, and the history of the project itself; all straight from hundreds of artists, sponsors, organizers, and celebrities. Slide in additional research from the author, auction results, current location of dozens of statues, collectables, and trivia, and you have the complete history of Peanuts on Parade.
Botaniker, K羹nstler und Modelle des Wissens
Die Botanik als Wissenschaftsdisziplin und die botanische Illustration als k羹nstlerisch-瓣sthetisches Konzept bilden eine Schnittstelle zwischen Wissenschaft und Kunst. Botanische Illustrationen vermitteln nicht allein phytologisches Wissen, sondern verfolgen ebenso 瓣sthetische Strategien zur Generierung und zum Abbilden von botanischem Wissen. Der Autor untersucht verschiedene historische Modelle der botanischen Wissensvermittlung vor dem Hintergrund des geschichtlichen Wissenszuwachses, der im Laufe der Epochen innerhalb der Botanik auf dem Weg ihrer Emanzipation aus der Medizin und Pharmazie vor sich ging. Dank immer neuer wissenschaftlicher Untersuchungsmethoden entwickelten Botaniker und wissenschaftliche Illustratoren, die oft in Personalunion miteinander wirkten, verschiedenste botanische Wissensmodelle, deren methodische Strategien von anfangs einfachen zweidimensionalen Konstrukten schlie?lich bis hin zu vierdimensionalen Strukturen am Ende des 19. und beginnenden 20. Jahrhunderts reichten, um immer komplexer werdende Aussagen zu erm繹glichen. Auf diese Weise wird zugleich ein ?berblick 羹ber die historische Entwicklung der Botanik und der 瓣sthetischen Vermittlung ihrer Erkenntnisse geboten, die von ihren Anf瓣ngen in der Antike 羹ber die Erfahrungen der V瓣ter der Botanik w瓣hrend der Aufbruchsphase des Renaissancehumanismus am Beginn der Neuzeit reicht, und in dieser Betrachtung an jenem Entwicklungsstand endet, an dem in der Moderne und Postmoderne neue Technologien der wissenschaftlichen Datenverarbeitung und Erzeugung bildgebender Verfahren im 20. Jahrhundert die bislang klassischen Wissensmodelle zu 羹berwinden bzw. zu revolutionieren begannen.
A Response to War
Although she subscribed to the Quaker tenant of pacifism, Violet Oakley also felt the need to support her country in time of war. During World War I she and other artists donated their services by designing Liberty Bond posters. During World War II she was one of more than twenty artists who painted portable triptych altar pieces for the Armed Services. Between 1942 and 1945, Oakley was commissioned by The Citizens Committee for the Army and Navy, Inc., established by a group of concerned civilians, to paint twenty-four altar triptychs for use on warships and in chapels on military bases.
Tacitean Visual Narrative
Combining the studies of modern film, traditional narratology, and Roman art, this interdisciplinary work explores the complex and highly visual techniques of Tacitus' Annales. The volume opens with a discussion of current research in narratology, as applied to Roman historians. Narratology is a helpful and insightful tool, but is often inadequate to deal with specifically visual aspects of ancient narrative. In order to illuminate Tacitus' techniques, and to make them speak to modern readers, this book focuses on drawing and illustrating parallels between Tacitus' historiographical methods and modern film effects. Building on these premises, Waddell examines a wide array of Tacitus' visual narrative devices. Tacitean examples are discussed in light of their narrative effect and purpose in the Annales, as well as the ways in which they are similar to contemporary Roman art and modern film techniques, including focalization, alignment, use of the ambiguous gaze, temporal suggestion and quick-cutting. Through this approach the modern scholar gains a deeper understanding of the many ways in which Tacitus' Annales act upon the reader, and how his narrative technique helps to shape, guide, and deeply layer his history.
Leonardo’s Spiritual Stature
The three great masters of the Renaissance [Leonardo, Michelangelo, Raphael] strove to work in the spirit of that age. And the one who already had a kind of seed, I would say, that grew into everything that has come and is still to come since that time was Leonardo. - Rudolf Steiner, Dornach, November 1, 1916.A single lecture given by Rudolf Steiner at Berlin on February 13th 1913, translated by Peter Stebbing, and edited by James D. Stewart, the e.Librarian at the Rudolf Steiner Archive & e.Lib. It is the eleventh of fourteen lectures in the volume entitled, Results of Spiritual Investigation, published in German as, Ergebnisse der Geistesforschung. From GA 62.
Animals A Japanese Coloring Book For Adults And Kids
This coloring book for kids and adults is perfect if you love to color animals but also are trying to learn Japanese. with 30 different animals to color. Each page will have both the Kanji and Hiragana names of each zoo and pet animals. This unique coloring book offers a vast array of animals such as dog, cat, lion, raccoon, deer, seahorse, Turtle, octopus, rooster, frog, Duck, Jellyfish, Panda bear, Puffin, Gorilla, Penguin, Zebra, Rabbit, Moose, Fish, Pig, Giraffe, Elephant, Rat, Cow, Bear, Yak, Parrot, And Snake. This Japanese beginner book is great for sounding out the words in hiragana and then learning the Kanji, You can use it as a workbook to get your animal names down. tags Japanese books in the Japanese language Japanese coloring book Japanese coloring book for adults beginner begginers notebook katakana chart game writing notebookこの子供と大人のための塗り絵は、動物を着色するのが好きで、日本語を学ぼうとしている場合に最適です。 30種類の動物が色を塗っています。 各ページには、各動物園とペットの動物の漢字とひらがなの両方の名前が表示されます。 このユニークな塗り絵は、犬、猫、ライオン、アライグマ、鹿、タツノオトシゴ、カメ、タコ、オンドリ、カエル、アヒル、クラゲ、パンダ、パフィン、ゴリラ、ペンギン、ゼブラ、ウサギ、ムースなどの動物の膨大な配列を提供します 、魚、豚、キリン、象、ラット、牛、クマ、ヤク、オウム、そしてヘラジカ。 この日本語の初心者向けの本は、ひらがなの単語を発音してから漢字を学ぶのに最適です。動物の名前を理解するためのワークブックとして使用できます。 タグ日本語の日本語の本日本語の塗り絵大人のための日本の塗り絵初心者初心者向けノートカタカナチャートゲーム初心者のためのノート学習本を書く教科書大人の塗&#
Il coperto dei Figini
La nascita di un grande loggiato, che ospitava il vasto e variegato Coperto dei Figini, posto in piazza del Duomo e costruito nella seconda met? del Quattrocento, ci viene raccontata da Ambrogio, omonimo di colui che ne ordin簷 la costruzione, sulla base di testi e documenti storici. La prefazione del figlio Luca apre il volume, pubblicato a cura degli amici e colleghi di studi in memoria e omaggio all'amico scomparso. Il lavoro 癡 stato arricchito con i loro contributi personali che spaziano dalla possibile origine del Coperto, alle monete e prezzi in quell'epoca, alla genesi e storia dei navigli con lo sviluppo commerciale e urbanistico della citt?, ai rapporti economici e sociali tra citt? e contado.
Shoes, Slippers, and Sandals
Ancient dress and adornment have received significant consideration in recent scholarship, though strikingly, feet and footwear have featured relatively little in this discussion. This volume aims to rectify this imbalance through its fifteen chapters covering a wide range of aspects associated with feet and footwear in classical antiquity. 
Colonialism, Culture and Arts Education in Pakistan
Drawing on archival sources, this book provides an anthropological exploration of the National College of Arts (NCA) in Lahore, tracing its evolution from the Mayo School of Arts established in 1875. As a counterpart to London's South Kensington School of Design (now the Royal College of Art), the Mayo School emerged as a crucial site for the dissemination of colonial art education in British India, alongside similar institutions in Calcutta, Bombay, and Madras. Named to honor Lord Earl of Mayo, the only Viceroy of India assassinated in office, it was founded by Lockwood Kipling and featured a distinguished roster of educators including Ram Singh, Percy Brown, Lionel Heath, S.N. Gupta, B.C. Sanyal, and A.R. Chughtai. The Mayo School also initiated the Journal of Indian Art and Industry, a seminal publication utilizing cutting-edge chromolithography techniques. The book employs theoretical analysis to understand how the NCA, functioning as a bureaucratic entity, has shaped the landscape of design education, museums, and artistic practices in both colonial and postcolonial contexts. From its roots in British art education, derived from South Kensington, the institution's trajectory reflects its adaptation through American reforms in the early years of Pakistani independence. This analysis critically examines how frameworks of art history and anthropology have been mobilized to construct and objectify Pakistani art and artists. Furthermore, the book explores the contributions of colonial anthropologists such as Richard Temple, Denzil Ibbetson, and Baden Powell, who were instrumental in the establishment and administration of the Mayo School. Their work in ethnographic reconstruction provided a cultural framework that influenced the education of artisan castes, situating them within a "primitive" Punjabi context. This colonial subtext profoundly impacted the pedagogical approaches of the Mayo School, which also nurtured the emergence of the Indo-Saracenic architectural style and supported traditional Punjabi painting. Despite its industrial art orientation, the Mayo School was pivotal in the development of a modern Punjab painting tradition recognized at the British Indian Empire Exhibition of 1924. Under the guidance of Lionel Heath, the school began to embrace modern art, with printmaking, graphic design, and sculpture taking root in the 1930s through the efforts of B.C. Sanyal and M.M. Hussain. The Mayo School's printing press produced a diverse array of materials, reflecting major Western art movements from Arts and Crafts to Art Deco and Bauhaus. In the formative years of Pakistan, the Mayo School transitioned into the National College of Arts in 1958, modeled after the Bauhaus with departments in Fine Art, Design, and Architecture. Influential figures such as poet Faiz Ahmed Faiz, painter Shakir Ali, art patron Ghulam Mueenuddin, and American sculptor Mark Sponenburgh were pivotal in shaping the NCA as Pakistan's premier institution for art and design. Through a critical examination of art history and anthropological frameworks, this book elucidates how imperial and nationalist discourses have intersected to shape and redefine artistic and cultural identities within Pakistan.
Darstellung religi繹ser Bewusstseinszust瓣nde in der Kunst am Beispiel der ”Ekstase des heiligen Franziskus”
Studienarbeit aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Note: 2,0, Universit瓣t Konstanz, Sprache: Deutsch, Abstract: Die vorliegende Hausarbeit widmet sich der Visionsdarstellung in der Kunst. Hierbei werden vor der kunstwissenschaftlichen Analyse des Werks Ekstase des Heiligen Franziskus, gefertigt von Caravaggio im Jahr 1590, zun瓣chst grundlegende Begrifflichkeiten des inneren Sehens und der Ekstase als psychologischer Geisteszustand definiert, um daran anschlie?end das Werk auf den Ebenen der Ikonographie/Ikonologie und Rezeptions瓣sthetik zu untersuchen. Das Augenmerk hierbei liegt auf der Erweiterung der materiellen Ebene durch den christlichen Kontext der Offenbarung, sowie auf Irritationen, die der K羹nstler in das Werk einschreibt.
Classical Greek Art
This book is the clearest and most concise introduction to Greek art of the classical age, which has influenced Western art for millennia. Most surveys of classical art include artists whose works do not survive and whom we only know through descriptions in ancient writers-which is of historical interest but is not useful to most readers, since we cannot appreciate artists without seeing their art.This book includes all the classical artists whose work survives, with summaries of what we know about their lives and with illustrations of their works, making it very easy to compare the artists and to understand how classical art developed over time. This book also includes the briefest possible history of this period-just over four pages with just enough background to help understand the art. Most people know at least a bit about artists of Renaissance Italy -for example, that Leonardo da Vinci painted the Mona Lisa and Michelangelo painted the Sistine ceiling. Yet most people do not know the artists of classical Greece. Few people know that Phidias and his workshop created the sculptures of the Parthenon and that Phidias was also the supervisor of all the construction on the Acropolis. His work was as important as Leonardo's and Michelangelo's, but most people do not know his name. This book will fill that gap in your knowledge. By the time you get to the final chapter, you will know all the classical artists whose work survives, and you will see clearly how changes in the art reflect the history of the times.
Das Gem瓣lde ”Historische Szene mit einem unbekleideten K繹nig am Wasser” (1637/38). Das Alte Testament im OEuvre von Johann Heinrich Sch繹nfeld
Masterarbeit aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Note: 1,7, Albert-Ludwigs-Universit瓣t Freiburg (Kunsthistorisches Institut), Sprache: Deutsch, Abstract: Die vorliegende Arbeit nimmt es sich zur Aufgabe, die Einordnung des Sujets durch PIGLER als "Die Heilung des Feldhauptmanns Naaman durch den Propheten Elis瓣us" nachzuverfolgen. Es soll sich dabei um einen Versuch handeln, das Gem瓣lde "Historische Szene mit einem unbekleideten K繹nig am Wasser" anhand seiner Ikonographie und Bildsprache zu analysieren, um nachzuvollziehen, ob es sich dabei tats瓣chlich um das vorgeschlagene Thema handeln kann. Erschwert wird die Bestimmung des Themas dadurch, dass das Naaman-Thema in der Bildenden Kunst nur selten zu finden ist. Zeichnungen und Gem瓣lde, die das Thema behandeln, sind deshalb nur rar. Lediglich vereinzelte Holzschnitte sowie einzelne Stiche der Fr羹hen Neuzeit und nur wenige Gem瓣lde k繹nnen zum Vergleich herangezogen werden. Die wenigen Vergleichsgem瓣lde stammen dabei aus dem niederl瓣ndischen Raum und zeigen haupts瓣chlich die Beschenkung des Propheten Elis瓣us, nicht jedoch die Heilung des Naaman selbst. Daraus resultieren Probleme, da Sch繹nfeld einen Sonderfall unter den K羹nstlern seiner Zeit bildet. Denn wie bereits Joachim von SANDRART treffend in seiner Teutschen Academie bemerkt, habe Sch繹nfeld 羹ber einen "zierliche[n] Geist" verf羹gt. Seine Werke seien 羹berdies "sch繹ne[ ] Bilder[ ]", die nicht nur mit "sch繹nen Thieren/ alten Ruinen", sondern auch mit "zierlichen Landschaften" versehen seien. Auch findet sich neben einer sch繹nheitlichen ?berh繹hung in seinen Werken zus瓣tzlich eine geheimnisvolle Ausstrahlung. Verst瓣rkt wird diese Eigenart Sch繹nfelds, zierliche Bilder zu malen, durch die Wahl 瓣u?erst seltener Themen sowie den eigenartigen Kompositionen. Insbesondere die Abweichung des K羹nstlers vom klassischen Darstellungskanon bildet eine Schwierigkeit bei der Analyse und Interpretation seiner Werke. Denn Sch繹nfelds Gem瓣lde spiegeln in erster Li
Under the Skin
Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today is set out to show what is beneath the surface, under the appearances of skin, body, colour and provenance, and not the cultural fixities or partial views detached from the realities of communities, cultures and practices from the area. Through 12 chapters, Under the Skin brings together artistic practices and complex histories informed by feminisms from diverse cultural and geographical contexts: Algeria, Egypt, Iran, Israel, Lebanon, Palestine, Saudi Arabia, Syria, Tunisia and Turkey. The aim is not to represent all of the countries from the Middle East and North Africa, but to present a cross-section that reflects the variety of nations, cultures, languages and identities across the area-including those of Berber, Mizrahi Jews, Kurdish, Muslim, Christian, Arab, Persian and Armenian peoples. It thus considers art informed by feminisms through translocal and transnational lenses of diverse ethnic, linguistic and religious groups not solely as a manifestation of multiple and complex social constructions, but also as a crucial subject of analysis in the project of decolonising art history and contemporary visual culture. The volume offers an understanding on how art responds to and shapes cultural attitudes towards gender and sexuality, ethnicity/race, religion, tradition, modernity and contemporaneity, and local and global politics. And it strives to strike a balance by connecting the studies of scholars based in the European-North American geography with those attached to the institutions in the Middle East and North Africa in order to stimulate different feminist and decolonial perspectives and debates on art and visual culture from the area.
On the Philosophy of Central European Art
This book is an introduction to the history of the concept and the institution of (fine) art, from its ancient Southern European roots to the establishment of the modern system of the arts in eighteenth century Central Europe. It highlights the way the concept and institution of (fine) art, through colonialism and diaspora, conquered the world. Ryyn瓣nen presents globally competing frameworks from India to Japan but also describes how the art system debased local European artistic cultures (by women, members of the working class, etc) and how art with the capital A appropriated not just non-Western but also Western alternatives to art (popular culture). The book discusses alternative art forms such as sport, kitsch, and rap music as pockets of resistance and resources for future concepts of art. Ultimately, the book introduces nobrow as an alternative to high and low, a new concept that sheds light on the democratic potentials of the field of art and invites reader to rethink the nature of art.
Girl, Relax!
Girl, Relax is a fun, adult coloring book with over 30 hand-drawn designs. Each coloring page depicts a different form of self-care. Whether it's reading a book, meditating, or writing this coloring book has it all. You do so much for others, you deserve a coloring book that promotes self-care. What do you do to relax?
The Story of Contemporary Art
An instant classic--a lively new introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramovic's performance art to today's biennale circuit and million-dollar auctions. Encountering a work of contemporary art, a viewer might ask, "What does it mean?" "Is it really art?" and "Why does it cost so much?" These are not the questions that E. H. Gombrich set out to answer in his magisterial The Story of Art. Contemporary art seems totally unlike what came before it, departing from the road map supplied by Raphael, D羹rer, Rembrandt, and other European masters. In The Story of Contemporary Art, Tony Godfrey picks up where Gombrich left off, offering a lively introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramovic's performance art to today's biennale circuit and million-dollar auctions. Godfrey, a curator and writer on contemporary art, chronicles important developments in pop art, minimalism, conceptualism, installation art, performance art, and beyond.
The Illuminated World Chronicle
A look into an enchanting, underexplored genre of illustrated manuscripts that reveals new insights into urban life in the Middle Ages In this innovative study, Nina Rowe examines a curious genre of illustrated book that gained popularity among the newly emergent middle class of late medieval cities. These illuminated World Chronicles, produced in the Bavarian and Austrian regions from around 1330 to 1430, were the popular histories of their day, telling tales from the Bible, ancient mythology, and the lives of emperors in animated, vernacular verse, enhanced by dynamic images. Rowe's appraisal of these understudied books presents a rich world of storytelling modes, offering unprecedented insight into the non-noble social strata in a transformative epoch. Through a multidisciplinary approach, Rowe also shows how illuminated World Chronicles challenge the commonly held view of the Middle Ages as socially stagnant and homogeneously pious. Beautifully illustrated and backed by abundant and accessible analyses of social, economic, and political conditions, this book highlights the engaging character of secular literature during the late medieval era and the relationship of illustrated books to a socially diverse and vibrant urban sphere.
The Iranian Expanse
The Iranian Expanse explores how kings in Persia and the ancient Iranian world utilized the built and natural environment to form and contest Iranian cultural memory, royal identity, and sacred cosmologies. Investigating over a thousand years of history, from the Achaemenid period to the arrival of Islam, The Iranian Expanse argues that Iranian identities were built and shaped not by royal discourse alone, but by strategic changes to Western Asia's cities, sanctuaries, palaces, and landscapes. The Iranian Expanse critically examines the construction of a new Iranian royal identity and empire, which subsumed and subordinated all previous traditions, including those of Mesopotamia, Egypt, and Anatolia. It then delves into the startling innovations that emerged after Alexander under the Seleucids, Arsacids, Kushans, Sasanians, and the Perso-Macedonian dynasties of Anatolia and the Caucasus, a previously understudied and misunderstood period. Matthew P. Canepa elucidates the many ruptures and renovations that produced a new royal culture that deeply influenced not only early Islam, but also the wider Persianate world of the Il-Khans, Safavids, Timurids, Ottomans, and Mughals.
Die Winckelmann-Rezeption in Italien Und Europa
Schon zu Lebzeiten hat der deutsche Arch瓣ologe und Kunsthistoriker Johann Joachim Winckelmann (1717-1768) europaweit Resonanz gefunden. Seine Geschichte der Kunst des Altertums (1764) wurde vor 1800 zweimal ins Italienische und gleich dreimal ins Franz繹sische 羹bersetzt. Winckelmann war damit ein europ瓣ischer Klassiker, noch bevor er am Anfang des 19. Jahrhunderts von Weimar aus zu einem deutschen Klassiker gemacht wurde. Ziel des vorliegenden Bandes ist es, die bislang wenig erforschte Wirkungsgeschichte seines Werkes in Italien vor dem Hintergrund seiner europ瓣ischen Rezeption zu untersuchen. Am Beispiel Winckelmanns wird damit der Versuch unternommen, ein nationales Rezeptionsph瓣nomen mit einer europ瓣ischen Perspektive zu kombinieren. Deutlich wird dabei, dass die italienische Winckelmann-Rezeption vor allem deshalb komplex ist, weil sie immer in Kenntnis von und mit Blick auf die Winckelmann-Rezeption in anderen europ瓣ischen L瓣ndern - insbesondere in Deutschland und Frankreich - stattfindet: Rezeptionsgeschichte kann hier nur als eine Geschichte von Verflechtungen geschrieben werden.
Der Friedrichplatz und der K繹nigsplatz in Kassel
Studienarbeit aus dem Jahr 2011 im Fachbereich Kunst - Kunstgeschichte, Note: 1,0, Universit瓣t Duisburg-Essen (Kunstgeschichte), Veranstaltung: Platzarchitektur, Sprache: Deutsch, Abstract: War der Friedrichsplatz wirklich ein sich verselbstst瓣ndigender Wegweiser in eine gesellschaftspolitisch neue Zeit, oder war er nur ein cleveres Projekt eines Landgrafen, der sich ein Platz in den Reihen der f羹hrenden europ瓣ischen Metropolen sichern wollte? Der K繹nigsplatz entstand 1768 als eine vom Residenzkomplex v繹llig unabh瓣ngige Anlage an der Nahtstelle zwischen Altstadt und Oberneustadt. Dort befanden sich die Post, die Gewerbehalle und einige private Pal瓣ste. Trotz seines Namens erhob er jedoch nicht mehr den Anspruch symbolische Mitte der neu vereinten Stadt zu sein, sondern fungierte eher als ein Zusammenf羹hrer der unterschiedlichen Strukturiertheitsformen von Oberneustadt und Altstadt. Die dort aufeinanderprallenden ja schon fast verschiedenen Kulturen wurden vom K繹nigsplatz aufgefangen, ausgeglichen und abgefedert. Der Friedrichsplatz wurde zwischen 1769 und 1783 im Auftrag von Landgraf Friedrich II. Von Hessen-Kassel(1720-1785) erbaut. Dem Friedrichsplatz in Kassel kommt, neben der Place Royale in Nancy und der etwa Zeitgleich gebauten Place Royal in Br羹ssel, gro?e Bedeutung in Bezug auf den Entfesselungsprozess der St瓣dte und die damit verbundene Neuordnung zwischen Stadt- und Landschaftsraum in der zweiten H瓣lfte des 18. Jahrhunderts zu.
Eine Idee ausstellen. Von der Sinnhaftigkeit eines Architekturmuseums
Studienarbeit aus dem Jahr 2012 im Fachbereich Kunst - Kunstgeschichte, Note: 1,3, Universit瓣t Duisburg-Essen (Kunstgeschichte), Veranstaltung: Architektur, Sprache: Deutsch, Abstract: Ein Museum f羹r ein Ausstellungsobjekt, das zu gro? ist, um dort hineinzupassen. Eine Ausstellung 羹ber ein Werk, das gar nicht da ist, weil es nicht wegbewegt werden kann von dem Ort wo es entstanden ist. Die Geschichte zu einem Gegenstand, den man noch nie selbst gesehen hat und vielleicht auch nie sehen wird. Bei dem Gedanken an Architekturmuseen kommen mir als erstes diese Phrasen in den Kopf und ich muss mir die Frage stellen, kann mir ein Museum respektive eine Ausstellung zu einem Geb瓣ude, Architekturstil oder Architekten den Anblick und die Erfahrung mit dem realen Geb瓣ude ersetzen? Sicherlich nicht. Aber wozu gibt es dann Architekturmuseen und was wollen sie mit ihren Ausstellungen ohne das Objekt, um das es eigentlich geht, erreichen? Genau mit dieser Frage wird sich die folgende Seminararbeit befassen und wird versuchen die Absichten und Hintergr羹nde eines Architekturmuseums genauer zu beleuchten. Es wird eine kurze Einf羹hrung geben, die verschiedene Ansichten zu Ausstellungen rein f羹r Architektur auff羹hren soll, um somit ein Grundlage zu schaffen f羹r eine geschichtliche Betrachtung und die Entwicklung der Architekturmuseen bis zum heutigen Stand. Danach folgt eine Unterscheidung von direktem und indirektem Ausstellen von Architektur. Zum Schluss fasse ich die Erfahrungen und Ansichten, die ich w瓣hrend der Recherche gemacht habe, in einem Fazit zusammen.
Die Ambivalenz zwischen irdischem Dasein und best瓣ndiger Natur in ausgew瓣hlten Bildbeispielen Arnold B繹cklins
Forschungsarbeit aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Sprache: Deutsch, Abstract: Die Arbeit "Die Ambivalenz zwischen irdischem Dasein und best瓣ndiger Natur" hat folgende Forschungsfragen: Inwiefern zeigt sich Endlichkeit in den ausgew瓣hlten Werken? Wie ist die These in den damaligen soziokulturellen Kontext einzuordnen? Wie ist die Best瓣ndige Natur dargestellt? Inwiefern haben die Bilder in der heutigen Gesellschaft Europas 2020 noch Relevanz? Wie steht die Betrachtung der Bilder im Gegensatz zur Weltansicht vorherrschender Naturgesetze? Im Folgenden werde ich auf den aktuellen Forschungsstand eingehen. Daraufhin behandele ich mit Bildinterpretationsmethoden f羹nf Beispiele des Malers Arnold B繹cklins aus dem Ende des 19. Jahrhunderts hinsichtlich der Forschungsfrage und Aktualit瓣t in der heutigen Gesellschaft. Interpretiert werden "Selbstbildnis mit fiedelndem Tod" von 1872, "Vestalin" von 1874, "Faun, einer Amsel zupfeifend" von 1863, "Meeresbrandung" von 1879, "Die f羹nfte Fassung der Villa am Meer" von 1878 und "Der Fr羹hlingstag" von 1883. Abschlie?end komme ich zu der Relevanz der dargelegten Interpretationen in der gegenw瓣rtigen Zeit.
? la recherche de l’homme nouveau; Alberto Savinio et les avant-gardes ? Paris 1911-1937
Cette 矇tude innovante retrace le parcours de l'矇crivain, musicien, dramaturge et peintre italien Alberto Savinio afin d'矇valuer sa place dans l'avant-garde parisienne. Elle 矇claire une dimension peu connue de la contribution italienne ? l'矇laboration des id矇es et des pratiques d'avant-garde ? Paris dans la premi癡re moiti矇 du si癡cle.
I Testamenti dei Cardinali
Trascrizione commentata del Testamento (1734) del Cardinal Alessandro Falconieri, versione integrale dall'Archivio di Stato di Roma.
Die Rote Stadt im Roten Land. Wechselwirkungen von Politik und Architektur im Magdeburg der 1920er Jahre
Studienarbeit aus dem Jahr 2020 im Fachbereich Kunst - Kunstgeschichte, Note: 1,0, Martin-Luther-Universit瓣t Halle-Wittenberg, Veranstaltung: St瓣dtebau. Theorien und Entwicklung, Sprache: Deutsch, Abstract: Die Stadthalle Magdeburg ist eines der bedeutendsten Bauwerke der Moderne in Magdeburg. Eine kolorierte Zeichnung dieser wurde 1929 der Publikation "Die Rote Stadt im Roten Land" vorangestellt. Sie wurde begleitend zum Parteitag der SPD herausgegeben und stellte "das Werden und Wirken" dieser in der Kommunalpolitik Magdeburgs dar. Der Haupttext vom Oberb羹rgermeister der Stadt geschrieben, wurde mit Abbildungen des Neuen Bauens in Magdeburgs umfassend begleitet. Stolz inszenierte sich Magdeburg zur gleichen Zeit in anderen Werbemitteln als "Stadt des Neuen Bauwillens". Das die Sozialdemokraten auch in einer politischen Publikation die Architektur bildlich stark einbeziehen, l瓣sst die Frage stellen, inwiefern die architektonischen und st瓣dtebaulichen Entwicklungen der Moderne in Magdeburg von der dortigen kommunalen F羹hrung der SPD abhingen. Um die st瓣dtebauliche und politische Situation der Zwanzigerjahre nachvollziehen zu k繹nnen, ist die Betrachtung der Zust瓣nde vor dem Ersten Weltkrieg essenziell. Das Wirken des Oberb羹rgermeisters Hermann Beims und das des Stadtbaurats Bruno Taut ab 1924, sowie ihre Beziehung zueinander, sollen die Verbindungen zwischen Kunst und Politik in Magdeburg kl瓣ren. Die Beschreibung der genauen Projekte und ihre Einbindung in die wirtschaftlichen und politischen Ziele werden die Betrachtungen der Wechselwirkungen fortsetzen. Ob Magdeburg als Rote Stadt zur Stadt des Neuen Bauwillens wurde, soll damit umfassend dargestellt werden.
Image, Knife, and Gluepot
In this ingenious study, Kathryn Rudy takes the reader on a journey to trace the birth, life and afterlife of a Netherlandish book of hours made in 1500. Image, Knife, and Gluepot painstakingly reconstructs the process by which this manuscript was created and discusses its significance as a text at the forefront of fifteenth-century book production, when the invention of mechanically-produced images led to the creation of new multimedia objects. Rudy then travels to the nineteenth century to examine the phenomenon of manuscript books being pillaged for their prints and drawings: she has diligently tracked down the dismembered parts of this book of hours for the first time. Image, Knife, and Gluepot also documents Rudy's twenty-first-century research process, as she hunts through archives while grappling with the logistics and occasionally the limits of academic research. This is a timely volume, focusing on questions of materiality at the forefront of medieval and literary studies. Beautifully illustrated throughout, its use of original material and its striking interdisciplinary approach, combining book and art history, make it a significant academic achievement.Image, Knife, and Gluepot is a valuable text for any scholar in the fields of medieval studies, the history of early books and publishing, cultural history or material culture. Written in Rudy's inimitable style, it will also be rewarding for any student enrolled in a course on manuscript production, as well as non-specialists interested in the afterlives of manuscripts and prints. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
The Modernist Bestiary
The Modernist Bestiary centres on Le Bestiaire ou Cort癡ge d'Orph矇e (1911), a multimedia collaborative work by French-Polish poet Guillaume Apollinaire and French artist Raoul Dufy, and its homonym, The Bestiary or Procession of Orpheus (1979), by British artist Graham Sutherland. Rather than reconstructing the lineage of these two compositions, the book uncovers the aesthetic and intellectual processes involved that operate in different times, places and media. The Apollinaire and Dufy Bestiary is an open-ended collaboration, a feature that Sutherland develops in his re-visiting, and this book shows how these neglected works are caught up in many-faceted networks of traditions and genres. These include Orphic poetry from the past, contemporary musical settings, and bestiary writing from its origins to the present. The nature of productive dialogue between thought and art, and the refracted light they throw on each other are explored in each of the pieces in the book, and the aesthetic experience emerges as generative rather than reductive or complacent. The contributors' encounters with these works take the form of poetry and essays, all moving freely between different disciplines and practices, humanistic and posthumanist critical dimensions, as well as different animals and art forms. They draw on disciplines ranging from music, art history, translation, Classical poetry and French poetry, and are nurtured by approaches including phenomenology, cultural studies, sound studies, and critical animal studies. Collectively the book shows that the aesthetic encounter, by nature affective, is by nature also interdisciplinary and motivating, and that it spurs the critical in addressing the complex issues of 'humananimality'. 'Enacting in multiple compelling ways the mobility and relationality at the heart of its concerns, this collection makes a major contribution to the various fields into which it intervenes, including modernist studies, translation studies, critical animal studies, and research into intermedial transmission, especially between text and image and text and music.' - Martin Crowley, University of Cambridge This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Medieval Women, Material Culture, and Power
This book argues that the impressive range of belongings that can be connected to Duchess Matilda Plantagenet allows us to perceive elite women's performance of power, even when they are largely absent from the official documentary record. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Posthumanism and the Graphic Novel in Latin America
Latin America is experiencing a boom in graphic novels that are highly innovative in their conceptual play and their reworking of the medium. Inventive artwork and sophisticated scripts have combined to satisfy the demand of a growing readership, both at home and abroad. Posthumanism and the Graphic Novel in Latin America, which is the first book-length study of the topic, argues that the graphic novel is emerging in Latin America as a uniquely powerful force to explore the nature of twenty-first century subjectivity. The authors place particular emphasis on the ways in which humans are bound to their non-human environment, and these ideas are productively drawn out in relation to posthuman thought and experience. The book draws together a range of recent graphic novels from Argentina, Brazil, Chile, Mexico and Uruguay, many of which experiment with questions of transmediality, the representation of urban space, modes of perception and cognition, and a new form of ethics for a posthuman world. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Modernism and the Spiritual in Russian Art
In 1911 Vasily Kandinsky published the first edition of 'On the Spiritual in Art', a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia - a culture deeply influenced by the regime's adoption of Byzantine Orthodoxy centuries before - questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with 'the spiritual' - broadly defined - was inextricably linked to their roles as pioneers of modernism.This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia.Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
The Modernist Bestiary
The Modernist Bestiary centres on Le Bestiaire ou Cort癡ge d'Orph矇e (1911), a multimedia collaborative work by French-Polish poet Guillaume Apollinaire and French artist Raoul Dufy, and its homonym, The Bestiary or Procession of Orpheus (1979), by British artist Graham Sutherland. Rather than reconstructing the lineage of these two compositions, the book uncovers the aesthetic and intellectual processes involved that operate in different times, places and media. The Apollinaire and Dufy Bestiary is an open-ended collaboration, a feature that Sutherland develops in his re-visiting, and this book shows how these neglected works are caught up in many-faceted networks of traditions and genres. These include Orphic poetry from the past, contemporary musical settings, and bestiary writing from its origins to the present. The nature of productive dialogue between thought and art, and the refracted light they throw on each other are explored in each of the pieces in the book, and the aesthetic experience emerges as generative rather than reductive or complacent. The contributors' encounters with these works take the form of poetry and essays, all moving freely between different disciplines and practices, humanistic and posthumanist critical dimensions, as well as different animals and art forms. They draw on disciplines ranging from music, art history, translation, Classical poetry and French poetry, and are nurtured by approaches including phenomenology, cultural studies, sound studies, and critical animal studies. Collectively the book shows that the aesthetic encounter, by nature affective, is by nature also interdisciplinary and motivating, and that it spurs the critical in addressing the complex issues of 'humananimality'. 'Enacting in multiple compelling ways the mobility and relationality at the heart of its concerns, this collection makes a major contribution to the various fields into which it intervenes, including modernist studies, translation studies, critical animal studies, and research into intermedial transmission, especially between text and image and text and music.' - Martin Crowley, University of Cambridge This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Image, Knife, and Gluepot
In this ingenious study, Kathryn Rudy takes the reader on a journey to trace the birth, life and afterlife of a Netherlandish book of hours made in 1500. Image, Knife, and Gluepot painstakingly reconstructs the process by which this manuscript was created and discusses its significance as a text at the forefront of fifteenth-century book production, when the invention of mechanically-produced images led to the creation of new multimedia objects. Rudy then travels to the nineteenth century to examine the phenomenon of manuscript books being pillaged for their prints and drawings: she has diligently tracked down the dismembered parts of this book of hours for the first time. Image, Knife, and Gluepot also documents Rudy's twenty-first-century research process, as she hunts through archives while grappling with the logistics and occasionally the limits of academic research. This is a timely volume, focusing on questions of materiality at the forefront of medieval and literary studies. Beautifully illustrated throughout, its use of original material and its striking interdisciplinary approach, combining book and art history, make it a significant academic achievement.Image, Knife, and Gluepot is a valuable text for any scholar in the fields of medieval studies, the history of early books and publishing, cultural history or material culture. Written in Rudy's inimitable style, it will also be rewarding for any student enrolled in a course on manuscript production, as well as non-specialists interested in the afterlives of manuscripts and prints. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Fonthill Recovered
Fonthill, in Wiltshire, is traditionally associated with the writer and collector William Beckford who built his Gothic fantasy house called Fonthill Abbey at the end of the eighteenth century. The collapse of the Abbey's tower in 1825 transformed the name Fonthill into a symbol for overarching ambition and folly, a sublime ruin. Fonthill is, however, much more than the story of one man's excesses. Beckford's Abbey is only one of several important houses to be built on the estate since the early sixteenth century, all of them eventually consumed by fire or deliberately demolished, and all of them oddly forgotten by historians. Little now remains: a tower, a stable block, a kitchen range, some dressed stone, an indentation in a field. Fonthill Recovered draws on histories of art and architecture, politics and economics to explore the rich cultural history of this famous Wiltshire estate. The first half of the book traces the occupation of Fonthill from the Bronze Age to the twenty-first century. Some of the owners surpassed Beckford in terms of their wealth, their collections, their political power and even, in one case, their sexual misdemeanours. They include Charles I's Chancellor of the Exchequer, and the richest commoner in the nineteenth century. The second half of the book consists of essays on specific topics, filling out such crucial areas as the complex history of the designed landscape, the sources of the Beckfords' wealth and their collections, and one essay that features the most recent appearance of the Abbey in a video game. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Modernism and the Spiritual in Russian Art
In 1911 Vasily Kandinsky published the first edition of 'On the Spiritual in Art', a landmark modernist treatise in which he sought to reframe the meaning of art and the true role of the artist. For many artists of late Imperial Russia - a culture deeply influenced by the regime's adoption of Byzantine Orthodoxy centuries before - questions of religion and spirituality were of paramount importance. As artists and the wider art community experimented with new ideas and interpretations at the dawn of the twentieth century, their relationship with 'the spiritual' - broadly defined - was inextricably linked to their roles as pioneers of modernism.This diverse collection of essays introduces new and stimulating approaches to the ongoing debate as to how Russian artistic modernism engaged with questions of spirituality in the late nineteenth to mid-twentieth centuries. Ten chapters from emerging and established voices offer new perspectives on Kandinsky and other familiar names, such as Kazimir Malevich, Mikhail Larionov, and Natalia Goncharova, and introduce less well-known figures, such as the Georgian artists Ucha Japaridze and Lado Gudiashvili, and the craftswoman and art promoter Aleksandra Pogosskaia.Prefaced by a lively and informative introduction by Louise Hardiman and Nicola Kozicharow that sets these perspectives in their historical and critical context, Modernism and the Spiritual in Russian Art: New Perspectives enriches our understanding of the modernist period and breaks new ground in its re-examination of the role of religion and spirituality in the visual arts in late Imperial Russia. Of interest to historians and enthusiasts of Russian art, culture, and religion, and those of international modernism and the avant-garde, it offers innovative readings of a history only partially explored, revealing uncharted corners and challenging long-held assumptions. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Posthumanism and the Graphic Novel in Latin America
Latin America is experiencing a boom in graphic novels that are highly innovative in their conceptual play and their reworking of the medium. Inventive artwork and sophisticated scripts have combined to satisfy the demand of a growing readership, both at home and abroad. Posthumanism and the Graphic Novel in Latin America, which is the first book-length study of the topic, argues that the graphic novel is emerging in Latin America as a uniquely powerful force to explore the nature of twenty-first century subjectivity. The authors place particular emphasis on the ways in which humans are bound to their non-human environment, and these ideas are productively drawn out in relation to posthuman thought and experience. The book draws together a range of recent graphic novels from Argentina, Brazil, Chile, Mexico and Uruguay, many of which experiment with questions of transmediality, the representation of urban space, modes of perception and cognition, and a new form of ethics for a posthuman world. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Fonthill Recovered
Fonthill, in Wiltshire, is traditionally associated with the writer and collector William Beckford who built his Gothic fantasy house called Fonthill Abbey at the end of the eighteenth century. The collapse of the Abbey's tower in 1825 transformed the name Fonthill into a symbol for overarching ambition and folly, a sublime ruin. Fonthill is, however, much more than the story of one man's excesses. Beckford's Abbey is only one of several important houses to be built on the estate since the early sixteenth century, all of them eventually consumed by fire or deliberately demolished, and all of them oddly forgotten by historians. Little now remains: a tower, a stable block, a kitchen range, some dressed stone, an indentation in a field. Fonthill Recovered draws on histories of art and architecture, politics and economics to explore the rich cultural history of this famous Wiltshire estate. The first half of the book traces the occupation of Fonthill from the Bronze Age to the twenty-first century. Some of the owners surpassed Beckford in terms of their wealth, their collections, their political power and even, in one case, their sexual misdemeanours. They include Charles I's Chancellor of the Exchequer, and the richest commoner in the nineteenth century. The second half of the book consists of essays on specific topics, filling out such crucial areas as the complex history of the designed landscape, the sources of the Beckfords' wealth and their collections, and one essay that features the most recent appearance of the Abbey in a video game. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Medieval Women, Material Culture, and Power
This book argues that the impressive range of belongings that can be connected to Duchess Matilda Plantagenet allows us to perceive elite women's performance of power, even when they are largely absent from the official documentary record. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
