Around the Bloc: Putin Calls Elton John (Really!)
Russian pranksters had duped the British singer into thinking Vladimir Putin had reached out to him – now he actually has.
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Russian pranksters had duped the British singer into thinking Vladimir Putin had reached out to him – now he actually has.
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Known for harming himself as a form of protest, Pavlensky was fined for damaging ‘cultural heritage’ – the doors to Moscow’s KGB/FSB headquarters.
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The article examines a kind of community of aesthetic tastes that was connecting Arab and Byzantine courtly culture. This community concerned the secular and luxurious works of art. The silver casket, called a Saracenic-Sicilian, from the Wawel Cathedral Treasury in Cracow will serve asthe starting point to gain a true appreciation of the complex artistic relationship between the Byzantine Empire and the Islamic world in the Middle Ages. It appears highly probable that the casketwas created in the twelfth century. It was published at once after the discovery (8th March 1881) and since then, researchers argue about the place of origin of the box. Some suggest that the casket couldbe a product of Arabic or Persian art, while others propose either Byzantine or Sicilian workshops. What is more, even an thorough stylistic and iconographic analysis does not allow for an unambiguous resolution of the problem of provenance of the Wawel box. Lack of a resolution suggests that this piece of art was directed to a member of the cosmopolitan elite of – Arabic or Byzantine – court, which took delight in sophisticated and expensive luxury items. It is worth noting that in this case, matter of religion did not play a crucial role. For this reason, the depicted scenes and decorative details have an universal character. In order to present this specific synthesis of Arabic and Byzantine secular art, the motifs of a griffin and a hare, decorating the casket will be considered.
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The painted decoration discovered in the Renaissance dominated the European stage for almost 300 years. In the second half of the nineteenth century, the so-called Great Reforms theater challenged this tradition, but it has survived in various guises until the present day. Today we perceive this form as anachronistic, as a quote from the past or an awkwardness of the set designer. Changing the perception of reality on the screen has also led to a change in the treatment of illusion and stage space. The screen has become not only an element of decoration, but it also shows or in extreme cases replaces reality. The impact of the new media on theatre today results not only from the introduction of technology, but also from the entrance into theater of artists from the world of the media. The new relationship leads in extreme situations to the denial of the basic definition of theater as an interaction between the creator and the recipient. The purpose of the paper is to show the interrelationships between the actor and the spectator, illusion and disillusionment. It seems that the described change will determine the direction of further development of theater. It remains an open question how the relationships between all of the participants in the interaction will be impacted by the use of screens and other electronic media. Describing and naming the attempts at qualitative change in the structure of the stage is important for the formation of new methodology for analyzing theatrical reality.
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The article is devoted to the impact of Japanese aesthetics on European fashion. In the first part, I will present an outline of Japonism, a trend in 19th century fashion. It brought no significant changes then. The designers just used decorative ornaments originating in Japan or fabrics imported from Asia. At the turn of the century, influenced by reforms in clothing and inspired by the Japanese kimono, the feminine silhouette was radically modified. In the 1920s, these innovations were abandoned. The main part of the paper concerns Japanese designers who appeared on the Paris fashion scene in the second half of the 20th century. Kenzo Takada and Hanae Mori adapted to the European canons, introducing an aura of exoticism. It was only the emergence of such avant-garde designers as Issey Miyake, Rei Kawakubo, and Yohji Yamamoto, that was a turning point in fashion. It involved a confrontation between the Western aesthetics and the Japanese concept of beauty. The Japanese designers proposed a style completely different from what Europe was accustomed to. It featured asymmetrical, loose, often monochromatic cloth- ing, sometimes without traditional trimmings, frayed. In time, the initial shock they provoked turned into a shift in the understanding of what clothing can be.
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Cable giant makes another successful foray into local programming, using top local talent.
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Through selected examples of Vlado Puljic’s poetry and painting, the paper will offer a new interdisciplinary approach to his art based on the most appropriate theoretical fundament of semiotics. The paper consists of two main parts. The first one is a theoretical view of differences between word and painting whereas the second part gives concrete examples which depict signs as basics of his creativity. Considering Puljic’s art, the meaning of his poetic and painting signs will be explained in the examples which a reader/viewer can understand only by knowing both poetry and painting. As an interdisciplinary approach, it can be used for interpretation of other similar artistic forms.
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U svojoj estetici likovne umjetnosti, objavljenoj 1960. pod naslovom Vremenske slike, Arnold Gehlen pita se o uvjetima mogućnosti modernoga slikarstva — o mogućnostima proizvodnje i recepcije likovne umjetnosti u društvu što ga Gehlen karakterizira kao »post–građansko« i »post–tradicionalno«. Ta mogućnost nije dana, a da bi se to razumjelo samo po sebi. Gehlen bi bez problema mogao potpisati rečenicu s kojom započinje Adornova Estetska teorija: »Samorazumljivim je postalo da ništa što se tiče umjetnosti više nije samorazumljivo, niti u njoj, niti u njezinom odnosu prema cjelini, pa čak niti u njezinom pravu na egzistenciju«.
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Pitanje gdje umjetnost prestaje biti umjetnost, dakle, pitanje o granicama umjetnosti središnje je pitanje za Gehlenovu estetiku. A gdje prestaje umjetnost za Gehlena? — Gehlen je uzor i za današnju filozofiju umjetnosti utoliko što na to pitanje ne odgovara upućujući na neku metafizičku bit umjetnosti; ali i time što ne istražuje transcendentalne uvjete estetskoga suda. Ne, Gehlen se okreće etabliranoj umjetnosti svojeg vremena, traži vodeću estetsku koncepciju i pita koje mjesto ona zauzima u kulturi društva, koju zadaću tamo ispunjava i želi ispuniti. A pritom Gehlen izravno ili neizravno odgovara i na pitanje o granicama umjetnosti. To određenje granica umjetnosti odvija se kod Gehlena takoreći ex negativo: naime, time što uvriježena razgraničenja umjetnosti svojega vremena podvrgava kritici, te ih nerijetko s upravo kauzističkom duhovitošću razotkriva kao besmislice.
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The second part of the study of the painting Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam is divided into two sections. Both are accompanied by theological and iconographic reflections as well. The Christ Child playing two handbells is depicted at the moment of generating the very first movement, creative “energy”, first sound that is going to be taken up by one of the angel musicians holding the same idiophones. Christ, incarnated God is perceived as the Musicus initiating the heavenly harmony represented by the three angelic rings. Profanum aspects in that Marian work of art are reflected in the outermost ring where angels play various musical instruments which I interpret as an incomplete catalogue of the 15th century instruments; the main reference work is Musica getutscht und aussgezoge written in 1511 by Sebastian Virdung. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole Rosarium Virginis Mariae Motus autem non est ens completum, sed est via in ens... Musica coelestis vel mundana
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The changes in Transylvanian fine arts can also be followed on the map. These changes are signalled by the number and character of the art galleries not only in Cluj-Napoca (Kolozsvár) but also in smaller Transylvanian towns, such as Sfântu Gheorghe (Sepsiszentgyörgy) or Miercurea Ciuc (Csíkszereda). The changes in artistic approach are revealed by the previous special issues of the journal Korunk, beginning with 1974, through the eighties and nineties, until the year 2002 and to our present. Similarly, the publishing activity in the domain of fine arts also shows a significant improvement, which is partly due to the contributions of the Korunk.
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Pažljivo analizirajući pikturalne kodove međuratnih dvadesetih, T. J. Clark detektovao je postojanje značajnog deficita ukleštenog unutar osnovnih proceduralnih aspekata likovnog postupka. Nedostatak je uzrokovan raskidanjem operativne končanice koja je logikom vlastitog protezanja uvezivala dva optička područja. "The crisis came quickly. For Cezanne and Pissarro around 1900, to take two great instances, the truth of seeing remained an unquestioned if always elusive goal... They were the inheritors of a project stret¬ching back to Giotto. Twenty years later that project was dead. No doubt artists in the 1920s and 1930s (and later) persisted in making strong truth claims to was now so disputed and often so obscure – so lacking an anchorage in the experience of the eye – that the concept itself seemed more and more a rhetorical leftover, unconnected with the detail or structure of pictorial practice."
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During restoration researches an increasing number of medieval depictions of King St. Ladislaus are becoming known. A number of these depictions differ significantly from the well known and ordinary types ichnographically. The frescoes of Ecel (Aţel, Hetzeldorf) and Oklánd (Ocland) are outstanding as in these frescoes an angel places the crown on to the saint's head. This representation of the scene of the battle of Kerlés (Chiraleş) – with this strengthening of the king's legitimization – was not known till now. After the thorough analysis of the Legend of St. Ladislaus on the fresco of Homoródkarácsonyfalva (Crăciunel) it has become verified that this 14th century fresco was painted by the same painter as the one painted the legend in Homoródszentmárton (Mărtiniş), in Gelence (Ghelinţa) as well as in Sepsibesenyő (Pădureni). Only in the paintings of this painter appears the opening scene that was previously interpreted as “The Audience” in which a kneeling figure appears in front of the king. On the northern walls of the Reformed Church of Huszt (Хуст, UKR) a fresco of the three Hungarian saint kings was found. The picture is dated to the first decades of the 15th century. Uniqueness of their weaponry is that their swords and daggers are connected to their breastplates with a chain. We can find these kind of representations in Western Europe mostly on tombs from the middle and the end of the 15th century. However, only two of this particular image are known in the historical Hungary. The first one is Siklós (HU) where we can find it on the tomb slab of Palantine Miklós Gara. The other one appears on the frescoes of Feketeardó where we can see a similar sword and dagger connected with the breastplate by a chain. Apart from the frescoes from the Middle Ages we also present two engravings and an altarpiece from the Baroque. On these pictures we can find rare and also important iconographic motifs. In an engraving of Andreas Brunner's 17th century volume there is a dual representation of the text of the legend from the Middle Ages. Also we can recognize a 17th century composition in an engraving by J.E. Mansfeld in Antal Gánóczy's book of the foundation of the episcopate of Várad (Oradea) by St. Ladislaus.
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Die mittelalterliche, heute evangelisch-lutherische Kirche in Durles (Dârlos/Darlac, RO) befindet sich im Norden des Landkreises Hermannstadt (Sibiu/Szeben, RO). Durles liegt 10 Kilometer westlich von Elisabethstadt (Dumbrăveni/Erzsébetváros, RO) und 6 Kilometer östlich von Mediasch (Media/Medgyes, RO). In einer Urkunde der päpstlichen Kurie aus dem Jahr 1332 erscheint der Ort unter dem Namen Dorlako. Die ältesten Dokumente, die Bezug auf die Wandgemälde der Kirche nehmen, verdanken sich dem französischen Schriftsteller Auguste De Gérando und stammen aus dem Jahr 1845. Die detaillierte Beschreibung umfasst Informationen über die Wandgemälde im Langhaus, im Chorraum und auf den Außenseiten des Kirchenbaus. Auf der Laibung trägt der Triumphbogen eine Aufschrift, die das Datum 1701 und den Vermerk enthält, dass im Jahr 1845 umfangreiche Renovierungsarbeiten am Kirchenbau vorgenommen worden sind. Während dieser Renovierungsarbeiten wurden die Wandgemälde in Chor und Langhaus mit Kalkfarbe überdeckt. Die Aufschrift gehört der ersten Kalkschicht an, die den Triumphbogen und die Wandgemälde der Chorwände bedeckt. Die letzten größeren Renovierungsarbeiten wurden im Jahr 1972 durchgeführt. Vermutlich sind mit dieser Gelegenheit auch die Wandgemälde auf den Wänden des Langhauses entfernt worden. Heute ist es nicht mehr möglich, Reste dieser Wandbemalung zu finden. Im Jahr 1975 wurden zufällig wenige Fragmente der Wandgemälde des Chorraums entdeckt. In den Jahren 2009–2011 führte der Restaurierungsfachbetrieb Imago Picta GmbH Rechercheund Konservierungsarbeiten in mehreren Etappen durch. Dabei trat auf der Nordwand des Chorraums eine Darstellung des Jüngsten Gerichts zutage; auf der gegenüberliegenden Südwand wurden Szenen aus dem Leben der Heiligen Katharina von Alexandrien und solche, auf denen Helena und Konstantin zu sehen sind, entdeckt. Die Fachliteratur hält keinen Aufschluss über den Fertigungsprozess von Wandgemälden in den mittelalterlichen Kirchen Siebenbürgens bereit. Der Großteil der verfügbaren Beschreibungen bezieht sich lediglich auf Maltechniken und Stilfragen. Die von mir durchgeführten Untersuchungen bieten neue Erkenntnisse über den aktuellen Zustand der Wandbilder, die Fertigungstechniken und die Abfolge der Malschichten, die verwendeten Materialien und Werkzeuge.
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