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In Lithuania, the spread of graphic representations of the Way of the Cross is closely related to the popularity of this kind of devotion. The sources present concise records of the graphic art cycles representing the Passion, which were hanging in churches in the 18th – first half of the 19th century. Most of the sources were found in church documents of Samogitia (Žemaitija) and Northern Highlands (Šiaurės Aukštaitija). Before 1850, the following characteristics of such graphic pictures prevailed: not large, half-arsheen or one arsheen high (arsheen =71.12 cm), coloured carvings, lithographs, most of ten framed and grazed. They were the Passion cycles of various iconography, consisting of 9, 14, 15 stations. Most of them perished. Until the second quarter of the 19th century copper-plates prevailed, some of them were coloured; at present, all are kept in depositories of Lithuanian museums. Worth mentioning are rare cuts of Frehling, a representative of popular graphic art, who worked in Augsburg in the 18th century (Šiauliai, “Aušros” Museum), valuable cycles by M. Engelbrecht, a professional German graphic artist who worked in the baroque style (three incomplete sets have remained), as well as neoclassicist images of the Lord’s Passion by the Italian graphic artist A. Mochetti, printed in the famous Agapito Franzetti’s printing-house in Rome, several Ways of the Cross by unknown authors of the late 18th – early 19 century, solitary stations that have survived. Since the second quarter of the 19th century; cycles of Our Lord’s Passions had been acquired mostly from French and German publishers. They were plates and lithographs of the neo-classicist and romantic styles.In the 19th century, the graphic representation of Way of the Cross, the conception of Our Lord’s Passion and its images were strongly influenced by the Nazarenes’ art. Precise rendition is a feature of the two sets of A. Petrak, a graphic artist who propagated the art of Nazarenes. The sets are dated to 1856; they are carved according to the Viennese St. John Nepomuk church Way of the Cross made by J. Führich and are kept at the Lithuanian Art Museum. Precise accuracy is characteristic also of the Way of the Crossmade by the carver C. Mayer from Nürnberg, the French engraver J. Carot, etc.Throughout the whole 19th century, Lithuania and the other Catholic countries were supplied with devotional paraphernalia mostly by a network of religious art publishers, such as Buasse-Lebel, Dopter, Desgodets, Turgis, etc. from Paris. In Lithuanian churches, the Way of the Cross produced by these publishers appeared in the second half and were spreading through the whole 19th century. In the last decades of the century when new technological possibilities appeared and polygraphy gained variety (chromo-lithography, oleography), massively reproduced prints lost individuality, and standards of representing Our Lord’s Passion have been formed.
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The goal of the paper. The development and up-to-date state of Ukrainian art market is analyzed. Due to the historical, cultural and economical circumstances of the country the art market here is based on a variant of the western European market model without taking into account local peculiarities and the absence of adequate law system in the field of art. The author investigates the causes and effects of the internal segregation of the art milieu in Ukraine. From this point of view the author discusses problems concerning the adapting of the optimal model of the development of western European art gallery environment to the specific art environment of Ukraine. Ethical questions related to the cooperation between gallery managers and artists are discussed. The necessity of creating an ethical code for gallery managers and artists is underlined; at present this subject has been dealt with only in several published papers. The methods of investigation include historical and cultural aspects, art management and the cooperation between gallery managers and artists viewed from inside, taking into account the world view of both sides. Such complex methodological approach allows to determine and to analyze different kinds of behavior of art market participants in the process of creating the market, developing it and transforming in order to find such model of cooperation that would be based on the thorough knowledge of artists' psychology and the mechanisms of artists' popularity. The scientific novelty of the paper consists in the widening of the conceptions related to the creative activities and the economical survival of the artists in the existing conditions of the market of cultural wealth. Peculiar aspects of the development of art galleries during the post-Soviet period have been investigated in a number of papers, but the specific features of the cooperation between gallery managers and artists viewed from inside were not discussed until now. The comparison of western European and Ukrainian art market models in their historical and cultural contexts allows both to get deeper insight into the problem of transforming the existing situation at the market of cultural wealth and to implement the corresponding projects in practice. Conclusions. In spite of all difficulties, Ukrainian art market is developing quite actively. The number of directions, styles and forms of creative work becomes rather wider than narrower, art events become more frequent, the structure of the domestic art market becomes more diversified and perfect step by step. This process, in turn, favours the constructive development of the interaction between artists, curators and gallery managers as well as their integration to the European art milieu.
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Akademik Aleksandër Stipçeviqi, njëri ndër ilirologët më të njohur, u lind me 10 tetor të vitit 1930 në fshatin Arbanasi (Arbënesh) te Zara (sot paralagje e saj) në bregdetin Dalmat të Kroacisë, ku para tre shekujve u shpërngulen arbëneshët e rrethinës së Shkodrës, përkatësisht të Mbi-Shkodrës. Këtu kreu tetëvjeçaren dhe gjimnazin, kurse studimet në degën e Arkeologjisë pranë Fakultetit Filozofik të Zagrebit, ku u diplomua më 1954.
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The paper describes a unique masterpiece of baroque graphic art: a copper engraving by G. B. Göz (1708–1774) for a so-called crucifix clockwork typical of the 17th–18th century. The engraving in the Collection of Pannonhalma Benedictine Monastery – exhibited for the first time on the occasion of the Millennium – illustrates the episodes of the last 24 hours of Jesus Christ’s life on earth, with a large variety of biblical motifs and rich “rocaille” decorations.
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The article is an attempt to present the history and the essence of the artistic phenomenon that appeared in the German cinema in the mid-1990s, which shortly afterwards the film critics hailed as the “Berlin school”. Acting in the spirit of renewal of the German film, the directors, among whom we find names well known today, such as Maren Ade (“Toni Erdmann”), Valeska Grisebach (“Western”) and Christian Petzold (“Barbara”), never created any formalized movement, but it is possible to analyse their work as a certain whole based on specific ideological and aesthetic order, referring to both the plot itself, their formal structure, and periphery activities – production, distribution and reception. Characterized by audiovisual severity, narrative modesty and realistic pronunciation, the “Berlin School” films, first performed as niche TV productions, in the first decade of the new century honoured during the subsequent Cannes festival editions, have in time become part of the European mainstream cinema, reaching a wide audience.
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The present paper investigates the beginnings of portraiture as an independentgenre of art. Contrary to the Vasarian tradition, which associates the beginnings ofportraiture with the birth of maniera moderna in Tuscany, the present author focuses hisparticular attention on two important centres of court art and culture, namely those ofPavia and Milan, which throve for the most part thanks to the patronage of the Viscontifamily. Thus the importance of Lombardy has been emphasised, as a place that had playeda significant role in the birth of portraiture in Italy at the turn of he fifteenth century.Written accounts found, among others, in the works of north-Italian humanists and artcollectors (e.g. Bartolomeo Fazio and Marcantonio Michiel) directly or indirectly testifyto the crucial role played by the artists associated with the court of the Viscontis in thedissemination of the new art genre, that is, of portraiture. In this regard, the names of threeartists: Giovannino de Grassi, Gentile da Fabriano and Michelino da Besozzo come to thefore, as of painters who enjoyed famę both in their lifetime and posthumously.Particular attention has been focused, however, on a text that originated outside themain humanist discourse, namely, on Cennino Cenninis treatise II Libro delTArte. It waswritten around 1400 by a Tuscan painter who, nonetheless, was well acąuainted with thereality of north-Italian courtly circles. The author of the treatise underscored that averefantasia e hoperazione di mano’ were two ąualities indispensable for practising the artof painting. The term fantasia seems to have here a similar meaning to that of the Latiningenium (mentioned, for example, by Theophilus Presbyter) or the Italian ingegno (whichlater occurred in the works of Vasari). Fantasia appears to be the artists main asset whichallows him to bring together the things observed in naturę according to his own liking.What is, however, equally important is the fact that nonę of the transformations done bymeans of the fantasia would have been possible without a preceding observation of naturę.It is in this very context that the word ritrarre, used by Cennini, should be interpreted. ForCennini this word meant not that much a simple copying of a thing perceived, but, rather,a process taking place in the artists memory. A painter who follows the ‘triumphal gate ofnaturę does not act automatically, but uses his intellect: first he assimilates, or, to put it inother words, memorises, a given thing, and only later does he re-create it on paper.Finally, the author goes on to demonstrate, on the basis of the analyses of selectedworks of art and written tradition, that the success of Giovannino de Grassi, Gentile daFabriano and Michelino da Besozzo in the courtly circles of Pavia and Milan, and lateralso in other parts of Italy, was due to a large degree to their skills in exhibiting the qualitythat Cennini had called fantasia, and to their ability to produce portraits, that is toimmortalise in the visual medium things observed
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Visuelle Kunst vermittelt eine Information gleich präzise, wie die sprachliche Deskription. Jede künstlerische Vorlage kann einer umfangreichen Interpretation unterzogen werden, mit Worten oder mit Farben, oder durch ganz andere Verfahren künstlerischer Darstellung. Grundsätzlich bedient sich dieser Artikel vor allem der Nachweise, die er aus den malerischen Ansätzen des Impressionismus erbringen konnte, indem man versucht, den deutschen Impressionismus vom französischen abzugrenzen, und ihn mit verwandten Erscheinungen in der Literatur zu vergleichen. Es handelt sich um eine unspezifische Text in Bild- und Bild in Text- Metamorphose, wo der gemeinsame Nenner wichtig ist – ein oberflächlicher Ausschnitt aus der Wirklichkeit, bearbeitet durch einen schnellen Pinselzug oder eine zerfezte literarische Tätigkeit, kohärenz- und fabellos, ohne logische Reihenfolge. Es ist im impressionistischen Umfeld sehr wichtig nachvollzuziehn, was Liebermann, Corinth, Pleuer, Slevogt gemeinsam mit Schnitzler, Dehmel, Hofmannsthal, Altenberg haben. Im Rahmen der gleichen Stilprinzipien erscheint besonders interessant zu erwähnen, welche komplementäre Methoden in der impressionistischen Literatur und in der Malerei vorzufinden sind, welche sprachliche Ausdrucksmittel als Äquivalent der malerischen Techniken zu bezeichnen sind. Letztendlich, wenn man die Postulate von zwei Kunstarten vergleichen möchte, bedeutet das nicht nur eine Herausforderung für den Interpreten, sondern auch eine origineller Beitrag der Tradition der literarischen Germanistik bei uns.
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The aim of this work was to examine and oversee the relationship of computer-assisted technology, which began in the last century and is now almost unpredictable in size, to art in the field of artistic activity, its reflections of observable effects and its relation to art in the historical context of art. Even when we look at the most basic form, we can see that any field of application, which we can call art, absolutely requires technical knowledge. From the paintings on the walls of the cave, figurines carved into animal bones, from vessels and sculptures made of clay to the most primitive musical instruments, it is a generally accepted finding that the process of humanization begins with the use of man’s technique and that this technique can be used as much as today. But at the same time, this inevitable use of technique in human expression immediately brings with it another paradoxical problem. Excessive use or exaggeration of the technique ‘causes’ the artistic expression to be overshadowed or lost. From this dilemma, it can be seen that the processes that are as far as the day-to-day from the farthest times of human beings can manifest quantitatively very differently, but they have not changed much. Today ‘high technology’, however, shows the possibility of a qualitative transformation in this process. Despite everything, if the artistic process is thought to be a reflection of the deepest expressions or deepest feelings, it is worth discussing whether it is a technology problem to reach these depths or not.
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In South Bulgaria, close to nowadays’ cities of Pazardzhik and Plovdiv, lies the village of Patalenitsa. The Church of Saint Demetrios has remained from Byzantine times. Its plan is of the cross-in-square type. In 2011–2012 the last phase of the restoration of the medieval mural paintings in the church was carried out. The preserved fragments on the westerns side of the eastern piers located under the cupola, amongst which probably passed the templon of the medieval church, are valuable for the identification of the saint patron. The images of the Virgin with the Child and an unknown saint in a rectangle frame are depicted on the north pillar, while St Demetrios is depicted on the south pillar. The iconography of St Demetrios in the Patalenitsa Church is significantly different from the well-known iconography of the saint with a short hairstyle. In Patalenitsa he is depicted with medium-length hair, separated in two locks. A number of early examples show that this iconographic variation exists in parallel with the well-known iconography of the saint, depicting him with a short hairstyle, but all the examples, depicting St Demetrios with locks date from the end of the 10th and the whole 11th century to the beginning of the 12th century at latest. We are not talking about a regional phenomenon, but maybe about a decision of the capital, as St Demetrios is depicted in the observed iconographic version also in the famous miniature with the portrait of Emperor Basil II in the Psalter, today in the Marciana Library, Venice (cod. Marc. gr. 17, f. IIIr). The above-mentioned gives us a reason to suggest that the murals in the Patalenitsa Church reflect precisely the commented iconographic variation of St Demetrios and this iconographic particularity suggests a date from the 11th century to the very beginning of the next century and not later. The identification of St Demetrios on the pillar under the cupola justifies the assumption that the medieval church was dedicated to the Thessaloniki martyr.
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The artist may sometimes choose to create additional meanings by using certain objects in the painting while painting. These objects can often be the direct representation of the thing they symbolize, and sometimes the artist can give the meaning he wishes by using uncommon objects instead of that thing as a metaphor. For instance, in the Middle Ages, artists frequently included lilies in their paintings as a symbol of purity. However, some object like mirrors both reflect the reality and assume the role of a metaphor by introducing meanings to the reality that they reflect. The mirror, or the reflective surface, sometimes gives a correct perspective based on mathematical measurements and we can see an extension of the space which is not included in the painting. Even though this extension does not carry features of a metaphor, they can introduce additional meanings to the narration of the painting. In some paintings, the mirror reflects a different thing other than it should in terms of mathematics and perspective, and contributes to the meaning of the painting as a metaphor. Upon looking at art history, mirror can be seen to have been used as a metaphor by a number of artists. At the same time, mirror has been used in paintings as a tool for reflection or to be reflected upon. In this study, the mirror is a space that exists in the space in the painting and there is a space in the mirror that is not included in the painting. In other words, the space, which is reflected in the mirror that is behind the audience, shows the space that does not exist according to linear perspective in the painting. The study analyzes this space through examples. In this context, mirror and reflection concepts have been analyzed.
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Since the beginning of the twentieth century, the graphic design area has been developed very rapidly. In this process more and more original and qualified. Works have been produced in the field of graphic design and a dazzling increase has been achieved in the graphic product variety. Especially by designing new fonts, typography has been the most important developing field in this process. With the diversity of typography and typography design, the way for symbolic expression has been opened and the modern design perception has become wide spread. Innovations in typography, icon creativity and original inventions have started to take place in the identity indicators of institutions and organizations. Thus, the logo design, which reflects the working and service areas of the institutions and organizations in the best way and gives them a visual identity at the local, national and international level, has started to be represented as an identity indicator of almost every city, especially the capitals and the big cities of the countries. The city logos as indicators of corporate identity are the elements of identity that come in to prominence in communication activities and which enable the identification and identification of cities and the perception of urban culture. Logos, which create a good urban image and provide a symbolic image, are indicators that take place in the minds of the masses and serve as an effective communication and also help in branding. In this study, the logos which have the identity indicators of the metropolitan municipalities of Adana, Mersin and Antalya, their meanings, form strings and their usefulness will be contexted and their analyzes will be done.
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The dreams are irregular, uncontent, disconnected from the ground, gloomy and darkness, besides of being vaguely. In the universal sense almost every human dreams, a dark side of dreams has a special significance for the artist in terms of art and style. The reason for this is that the darkness side of dreams is often created by a form of nightmare filled with distorted, fantastic, grotesque and allegorical images. This article focuses on the 43 rd pieces out of 80 piece engraving series Los Caprichos by Spanish painter Goya. In this engraving, the artist is not only the absurd style of demons, fairies, monsters and the incarnation of Satan, the sensual dreams of the monks can’t restrain depicts in the true ways. This article scrutinizes a surreal format of Goya’s dream come together in an absurd and realistic scene.
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Artistic and aesthetical determination of nature have been closely related and conditioned by the living conditions (in the advantage of the dominant class/societal group in the art of the advanced societies) in every society. The relationship between the ideal and the real in the beauty of nature presents a significance in this context through the cultural history. Apart from the autonomous landscapes by Ruysdael, Hobbema, and Van Goyen in Holland in the 17th century, paintings that feature nature – from Turner to Constable - have been supported with the property indulgence of the British and French land owners. The aesthetic context of Poussin and Lorrain’s landscapes has been determined by the property indulgence of the feudal nobles. Turner’s attempt to narrate his inner by painting the conditions in nature served as a foundation for the Western art movements that occurred in the 20th century. The fact that Naturalists presented an ideological stand against industrial cities and Impressionists’ technique that fed subjectivity on plastic terms made the identity of the artist significant. Integration of the nature and human, which is a stand against the slaughter and exploitation brought about by industrialization, has been determinant on every art movement. This ideology was significant for Gauguin to escape to nature. European art entered 20th century with two approaches; one being Romantic and Expressionist, the other Classicist and coherent. Fauvs in France and Die Brücke members in Germany found their foundation in the expressionist and emotional forms of the sense of art that was influential during the fin de siècle.
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At the centre of this study stand the artists involved in the creation of works of art on the basis of memory as the essence of their work. Memory, in this context, refers to recall and storage. The study focuses on the works of art of artists such as İlya & Emilia Kabakov, Doris Salcedo, Christian Boltanski, Sarkis, Michael Blum and Nikhil Chopra. Works of art distinctive in relation to individual and social memory are classified under the context of cultural memory in terms of recalling what is non-daily. It is observed that the works handle, within the context of individual memory, the account of one’s experiences and past-life, and address historical events and sociological subjects as far as social memory is concerned. The works of art examined also allowed drawing implications in the context of the relation of memory with the space and time.
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Within this study, street writings identified in Siirt province were analysed drawing upon stylistics and semiotics. It is observed that street writings, as a product of the social life, are considered as a character of “discourse”. With this respect, this study can also be considered as a discourse analysis. Texts obtained from the street writings vary due to their structures and express perspectives from different writers. In this study, the focus was on to discover what type of functions street writings have in interpersonal communication and what type of meanings they arouse in readers’ minds. When analysing the street writings, not only linguistic structures of text but also non-linguistic and meta-language structures were taken into consideration. There was an explanation on figures of speech (rhetoric) such as simile, metaphor and contrast which constitute the backbone of the street writings, various deviations, symbols and intertextual relations, and messages within these writings were interpreted. Thus, the door to the mysterious world of the street writings as an output of the relation and interaction of the person with both him/herself and other individuals was opened slightly.
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In the course of the eighteenth century, pictorial materials about Estonian peasants gradually accumulated to the extent that it is now possible to gather them together into a sizeable collection. Including all variants and modifications, this collection contains about one hundred works. It is remarkable that the authors of most of these works were foreigners, who merely passed through the area of today’s Estonia or stayed longer. The local Baltic-German elite seem to have lacked any deep interest in this topic. How exactly to regard peasants was a topic of discussion in the eighteenth century almost everywhere in Europe, including in Estonia and Livonia, where peasants were in fact serfs, thus not masters of their own fate, but owned by others. This issue was so important that it became one of the main questions in the Enlightenment movement. All across the world, peasants were seen as child-like figures who needed constant admonishing and guidance. In these two Russian provinces by the Baltic Sea, the image of peasants as culturally totally different creatures was further strengthened by their different languages, and thus the notion of a peasant also contained a clear ethnic meaning. To be born in Estonia or Livonia as an Estonian or Latvian inevitably meant being born as a peasant, as nationality was directly connected with social class. It is thus no surprise that local peasants were characterised by the usual colonial comparisons and epithets used to describe the recently discovered pagan peoples in the remotest corners of the world, despite the fact that Estonian and Livonian peasants were white and had been Christians for five centuries. The same cultural marginality, being ‘aboriginal’, determined quite a bit about how Estonian peasants were depicted in the eighteenth century. Compared with some other European regions, where certain traditions had developed in depicting peasants, painting a village man or woman was still an exception. And if a peasant was indeed occasionally depicted, it was mostly because of being exotic, ‘foreign’. It is worth pointing out that most authors of such works were foreigners, in transit through the Baltic region or staying longer. The local Baltic German elite seemed to lack any deep interest in such topics.
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The aesthetics of fashion can be regarded as the aesthetics of novelty since constant changes make novelty the core of fashion. Based on Colin Campbell’s theory, novelty is a judgment about our subjective experiences, indicating something we never experienced before. In the early stage of the fashion system, designers led fashion trends by creating brand-new items or borrowing foreign elements. Then, as the pace of fashion circulation increased, designers started to produce novelty by modifying details, or by repeating what was in fashion long before. Hence, fashion became cyclical. And the cycle duration would become shorter and shorter as the repetition sped up. At this stage, novelty is not based on whether the item is brand-new, but whether we still remember it. In the future, maybe the repeating of the old cannot maintain the feeling of novelty any more since the pace of fashion change is too quick to give enough time for the new to become old and forgotten. At that time, the novelty will not be based on whether we still remember it, but whether we want to forget it. Therefore, with the acceleration of fashion change, the method of how fashion produces novelty has gone through a logical sequence as follows: creating something brand-new, borrowing foreign elements, modifying details, repeating the forgotten old, and forgetting what is still new. Novelty has gone through a process from ‘externally determined’ to ‘internally determined’, moving to the direction of ‘self-deception determined’.
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In the article the picture of the Holy Virgin Mary, Queen of the Rosary, in the Holy Trinity Church of Troškūnai is discussed. Until now the picture was not studied thoroughly. The question of its origin still remains unanswered. Archive documents first mention its belonging to the Holy Trinity Church of Troškūnai in 1796 but they do not say that the picture was placed there by Bernardine monks. In 1850 or 1864 the picture was hidden, rediscovered in 1990 and restored in 1994. It combines elements from the pictures of the Czæstachawa Mother of God and of the Snowy Mary. Such a combination of Byzantine and Western styles is unique for European art.
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The thought that the complicated and layered sociological accumulation, which we call arts, is transferred through very deep cultural legacies has focused researchers to follow social tracks in reaching periodical evaluations. However, although existence of national/ethnic origins and perception ways make it difficult to express a magnificent formation, it allows us to define the common creation perception in many different legacies by considering the current status of arts. The stages where Turkish painting arts reached 80s and the following ones point to start of a new emerging period. Sources of Turkish arts represented their own values during 1950s and following periods with a synthesis that exceeds centuries and reached a line of development on the path to attain universal values. It was also seen that the political and economic states of 1980s caused transformation of cultural changes which led to a direct or indirect individuality. The study touches upon importance of initiatives as an approach where individuality distinguished itself on society basis in terms of enrichment of conceptual expansion and different discourses in Turkish arts with the The Definition of Art Group example at the center of the subject. The study also handles how the changing arts is connected using a political language. In addition, it deals with what kind of a context it was based on with regard to Gülsün Karamustafa’s studies by focusing on practices of creations determined within the framework of findings with the conceptual discourses that move on arts-text boundaries.
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