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The article seeks to address the description and analysis of a complexly constructed object such as an art installation. Different types of installations are explored, as they are becoming more and more popular in contemporary art. The methods used were chosen so that to be adequate to the objects under consideration. Art installations being complex works, the methods of classical art studies faced certain difficulties in their description and analysis, and mainly in revealing and explaining the mechanisms behind the functioning of different installations. Drawing lessons from those analyses, contemporary art studies had to expand and summarise their categories and concepts so that to be able to go from a descriptive and explanatory model to a prognostic one in the analysis of the contemporary “hybrid fruits” of the art of imagery.
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The article brings together all known for the time being works by the Athonite icon-painter Nicephorus from Karpenissi, made in the Bulgarian lands. It is argued that his icons spread across this country through the agency of the monasteries of Zographou and Chilandari on Mt Athos rather than being commissioned to him. In this sense, the role is underscored not only of the institution of taxidiotes, but also of the monasteries as such for Bulgarian places that needed Athonite icons at the turn of the nineteenth century commissioned those directly to the monasteries rather than contacting the Athonite painters. The choice of a particular painter in each case was left to the discretion of the two monasteries, which acted as the gobetween in the negotiations between the church donors and the iconpainters. Several examples are given of incorrect attributions of works made by Nicephorus, which were until now ascribed to the Samokovian painter Hristo Dimitrov. These are the icons at the Metropolitan Church, Samokov (1793); the Church of the Holy Trinity, Ruse (1807–1808) and some of those at the Church of the Assumption in Pazardjik (1815). Along with the new attributions, a critical evaluation is made of the information about Hristo Dimitrov’s training on Mt Athos and some information about the painters of the School of Samokov, based rather on legends, though accepted as science facts in Bulgarian literature.
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Windows in the parish church of the Holy Apostles Peter and Paul in Mszanka near Gorlice, which supplements the architecture of the church built in 1938–1940 following the design of Edward Okoń, an architect from Tarnów, comprises 12 stained glass: two figural in the chancel, eight geometrical with medallions in the nave and transept, and two with monograms on both sides of the main entrance. Although plain in the artistic sense, and in the case of the figural ones – mediocre, these stained glasses successfully complement the bright and orderly interior of the parish church. The inscriptions on two panels and existing archival sources inform us that the windows were created in 1938 in the Kraków workshop of Maksymilian Romańczyk. The archival documents describe the entire investment process leading to their creation and their repair which was necessary due to their deficient construction. This task was undertaken in 1949 by the renowned Kraków Stained Glass Company S. G. Żeleński, which is also described in detail in the historical records. Stained glass and primarily the archival materials preserved in Mszanka are excellent sources of many valuable details on stained glass workmanship in Poland in the second quarter of the 20th century, the division of tasks within stained glass workshops, the involvement of the clients, and on projects that the above-mentioned workshops were working on concurrently at that time – information which was previously unknown. In turn, the preserved company letterhead authorised with the original stamps provides useful information on the functioning of these types of workshops, their products and achievements. In quite a distinct manner, the letterhead also tells us a little about the history of the workshops. The above example confirms that works of art or archival material stored until this day in locations outside urban areas can valuably supplement and sometimes even alter our knowledge of stained glass art in Poland.
More...A tékozló fiú hazatérése Rembrandt van Rijn ábrázolásában és Henri J. M. Nouwen értelmezésében
The “Rembrandt Code” is mainly based on the crucial writing of Henri Nouwen: The Return of the Prodigal Son, a book unfortunately unknown for the East-European readers. The author of this presentation several times tried to popularize the books of Father Henri, giving lectures as often he could. The echoes of these lectures were very positive, so he summarized his conclusions in this essay lectured in front of a youth auditorium in Nagyvárad. The “Code”is very simple as all the teachings of Henri, the Beloved One: God is receiving and embracing us with His Fatherly and Motherly embracement, welcoming us in His house where all of us is belonging and where is enough place to dwell.
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The reformed church was connected to the Renaissance in Hungary. The liturgical objects usually did not differ from the objects that were used on a daily basis.The explanation of this is that the form and the substance of the ceremonial objects were not prescribed. Besides the 16–17th century’s goldsmiths, tin and ceramics pots, folk potter products, embroideries and folk textiles and joineries, in a considerable amount remained the 18–19th century’s silks manufacturing industry products, so in the applied art and folk art researches occupies an outstanding place the yet highly unknown church objects.
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Sekcija arhitekture Venecijanskog bijenala, pošto je bila otvorena istovremeno sa sekcijom pozorišta izložbom posvećenom »Veneciji i scenskom prostoru«, poklapa sada s početkom pretposlednje decenije ovog veka svoju prvu samostalnu inicijativu: I međunarodnu izložbu arhitekture kojoj će, u bijenalskom ritmu, uslediti druge izložbe iste vrste, naporedo s glavnim manifestacijama sekcije Vizuelnih umetnosti.
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Devetorica, ili desetorica muškaraca, koji su već mrtvi, videli su isto što su sada videle moje oči - duboki ubod u telu, i telo pod vedrim nebom, ali ono što su oni videli, bio je kraj jednog drugog, ranijeg događaja.
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Albertijev opis perspektive, po kojem se plan slike smatra prozorom na koji upisujemo sve što vidimo dok kroz njega gledamo na jedan piramidalni odsečak vidljivog sveta, iako ponavljan kod Leonarda i drugih pisaca sve do danas, nije sasvim zadovoljavajuća definicija, jer bi ona mogla da se primeni na bilo koju sliku koncipiranu u terminima okvira, i jer pruža mali uvid u svhatanja ovih umetnika koji su smatrali da su ostvarili potpuni i logični sistem slikovnog iluzionizma.
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Prema podacima koje je svojevremeno objavila redakcija američkog Časopisa za estetiku i umetničku kritiku, Ervin Župnik je profesor istorije umetnosti na Harpur koledžu u Endikotu, država Njujork. Prema tim podacima iz 1961, rasprava Ikonologija stila (ili Velflin ponovo razmotren) je deo knjige posvećene konceptualnoj osnovi renesansnog stila.
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U knjizi "problem forma“ suprotstavljam pojavu njenom prostornom sadržaju, i to suprotstavljanje predstavlja polaznu tačku moga daljeg izlaganja.
More...Studiu de caz - „Pelerinii din Emaus”, din colecția Muzeului de Artă Cluj-Napoca
For centuries, there has been a desire to protect the oil paintings on textile support, due to the natural aging process of the textile fibres, the behaviour of the preparation-, paint- and varnish layers, as well as the historical treatments and methodologies to which they were subjected. The decisions and the “recipes” applied in the past were determined by the intellectual and aesthetical values of the era, by the material of the artwork and the subjective human emotion. Currently, the scientific approach of restoration, through rigorous methodologies contrasts sharply with the empirical methods of the past.“Pilgrims at Emmaus” (18th cent.) belongs to Cluj-Napoca Art Museum’s heritage, however, prior to entering the museum’s collection, the painting has passed through the hands of several painters or restorers, eager to restore the unity of the image, only to salvage the object for a short period of time. I will present the previous restoration interventions, which also include the lining from the 19th century, reviewing the history of traditional lining techniques, then describing the methodology I have applied in the restoration process.
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Za novu umetničku praksu karakteristično je da delo kao materijalni objekt nije više podložno formalnim i plastičkim uslovima artikulacije, već ono, naprotiv, pretpostavlja zasnivanje i odvijanje jednog misaonog procesa u kojem fizička svojstva korišćenih medija služe kao posrednici u ekspliciranju konkretnih autorskih problematika.
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In the work "Art and Visual Perception. A Psychology of the Author's Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: "It is unlikely that any stroboscopic "short-circuit" will occur as long as objects appear on the screen at a sufficient distance from each other." An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): "In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single "moment" in the sequence of moments that make up a movement; all other "moments" before and beyond the fixed movement are left to the imagination and fantasy of the spectator."
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In this paper, Heidegger’s understanding of art is analysed with regard to the status of painting, for which I claim to be of equal status as poetry. Such claim is derived from Heidegger’s commentaries on Klee, which show that the essence of painting is not a presentation of beings, but the revelation of our grasp of Being. The same idea is analysed considering Heidegger’s short comment on Franz Marc from his early works, with the conclusion that Hedegger’s attack on an abstract painting is not the consequence of demand that painting should present us with some concrete being, some object. Finally, the specific status of poetry and painting indicate the new understanding of the image in Heidegger, which in return demands for the revision of the usual interpretation of Heidegger’s philosophy of art.
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This presentation of works by the Slovak photographer and teacher Lena Jakubčáková (b. 1980) is based on a selection of two scholarly articles that were written about her and some author´s texts or fragments from her books. Together with her biographical information and a brief overview of her exhibitions at home and abroad, the magazine provides information about Jakubčáková’s activity as a creative photographer. The articles, by Jindřich Štreit (2016) and Ivana Komanická (2017), offer interpretations of her key series – of her two long-term documentary projects, which essentially talk about prison, faith, solitude, individual freedom and revolt, and which were completed in the form of a book. The author´s texts and the excerpts from two books File 44 and Granny from the Woods reveal her relationship to the photographed persons. Everything is accompanied by more than fifty photographs, in black-and-white and in colour, some of which come from the author´s archive and the exhibition documentation.
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Mrtvo tijelo kako se prevodi ‘kolpomorto’ odnosno ‘korpomorto’, složena je izložbena cjelina koja razmatra tamne aspekte zbilje hrvatskog obalnog područja o kojem uobičajeno volimo razmišljati kao o jednom od najljepših kutaka planete.
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The paper presents a study of the visual discourses of Croatian editions of children’s classics translated from English into Croatian. It focuses on trends in using the original illustrations from the source texts or providing new illustrations in individual publications of target texts and on finding and interpreting semantic shifts in images provided by Croatian artists, in comparison with the illustrations in the first editions of the source texts. Interlingual translators adopt various strategies to cope with cultural and stylistic aspects of the source texts, and semantic shifts are almost inevitable. They are even more often perceived in translations of children’s literature. Children’s books regularly include intersemiotic translations of the verbal text in the form of images, which carry important narrative and cultural meanings. These may become fragile in translation. The analysis of images in Croatian publications with new sets of illustrations has detected modifications of original narrative meanings, leading to semantic shifts. Further, the analysis of the publishing practices has revealed a tendency in the recent period towards introducing new sets of illustrations more often than prior to the 1990s. Finally, the paper considers the reasons for and implications of these findings.
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Review of: Ivana Peruško Vindakijević, Od Oktobra do otpora: Mit o sovjetsko-jugoslavenskom bratstvu u Hrvatskoj i Rusiji kroz književnost, karikaturu i film (1917. – 1991.). Zagreb: Fraktura. 2018. 380 str.
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