Relevant bibliographies by topics / Apotheosis in art

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Apotheosis in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Apotheosis in art"

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Holt, Philip. "Herakles' Apotheosis in Lost Greek Literature and Art." L'antiquité classique 61, no. 1 (1992): 38–59. http://dx.doi.org/10.3406/antiq.1992.1130.

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Lopes, Antonio Orlando Dourado. "Heracles's weariness and apotheosis in Classical Greek art." Synthesis 25, no. 2 (December 31, 2018): e042. http://dx.doi.org/10.24215/1851779xe042.

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In this paper, I propose a general interpretation of images showing the physical exhaustion and apotheosis of Heracles that were produced during the Classical period. These images appear on or take the form of coins, jewels, vase paintings, and sculptures. Building on the major scholarly work on the subject since the late 19th century, I suggest that the iconography of Heracles shows the influence of new religious and philosophical conceptions of his myth, in particular relating to Pythagoreanism, Orphism, and mystery cults, as well as the intellectual climate of 5th century Athens. Rather than appearing as an example of infinite toil and excess in the manner of earlier literary and iconographic representations, Heracles is presented in the Classical period as a model of virtue and self-restraint and a symbol of the triumph of merit over adversity and divine persecution.
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Kovács, Imre. "The Apotheosis of Beethoven in Danhauser’s Painting Liszt at the Piano." Studia Musicologica 55, no. 1-2 (June 2014): 119–30. http://dx.doi.org/10.1556/6.2014.55.1-2.8.

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This paper examines a painting by the prominent Biedermeier painter Josef Danhauser, Liszt at the Piano, a unique visual document of the Romantic generation’s cultic relationship and collective memory surrounding the virtually holy predecessor, Beethoven. It demonstrates the Beethoven reverence of (1) the commissioner Conrad Graf, a piano maker, who gave an instrument to Beethoven, (2) the painter Danhauser, who took the death mask of the German composer, and (3) Liszt, who considered himself the artistic heir to Beethoven. Although it is a well-known and thoroughly researched painting, its re-examination is still worthwhile. Focusing on aspects of cultural history, the contemporary reception of the painting should be reconsidered from a synthesizing point of view utilizing the results of art historical iconography and musicology. As a kind of cultural study, the paper attempts to demonstrate the background and motives that lead to the creation of the painting. I shall place the painting in the wider context of the history of ideas which is represented by the art-religious experience Liszt and his Paris companions gained from Beethoven’s music. An evaluation of the narrower, historical background — the Beethoven cult triggered by the piano concerts given by Liszt in Vienna in 1839–1840 — will also be discussed.
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Colerick, Edward. "Samuel Beckett and the Death of Representation: Rockaby, Ill Seen Ill Said and Worstward Ho." Prace Literaturoznawcze, no. 8 (December 1, 2020): 161–72. http://dx.doi.org/10.31648/10.31648/pl.5663.

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The article explores not only the link between Samuel Beckett’s final two novellas and the late drama but also seeks to demonstrate the author’s intent on stripping away the symbolism and imagery within his work in order to expose a life lived through the prism of representation; and, finally, to use his art to suggest something of the ‘real’ beneath the representational world. In this way the article demonstrates that the apotheosis of Beckett’s entire oeuvre is to reduce his narrative and dramas to a single work which finds its most comprehensive embodiment in his final novella: Worstward Ho.
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ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (August 26, 2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundscape. Indeed, Cocteau was comfortable with the selection and arrangement of sonic elements to the extent that his regular collaborator Georges Auric became almost dispensable. Nevertheless, Auric's willing support enriched the final film and Cocteau created a highly self-reflexive work through his arrangement of the composer's music with pre-existing musical borrowings. Cocteau's engagement with contemporary developments in film and art music can be heard throughout this film, highlighting his position as a poet simultaneously establishing himself in the canon of art and looking to the future.
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Liu, Annie (Yen-Ling). "Listening as gazing: Synaesthesia and the double apotheosis in Franz Liszt’s Hunnenschlacht." Studia Musicologica 54, no. 4 (December 1, 2013): 379–88. http://dx.doi.org/10.1556/smus.54.2013.4.4.

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Among Franz Liszt’s symphonic poems, Hunnenschlacht (“The Battle of the Huns,” 1857) and Von der Wiege bis zum Grabe (“From the Cradle to the Grave,” 1883) were inspired by the visual arts. With these works, Liszt attempted to translate painterly figurations into music; this intention is particularly embodied in his symphonic transformation of Wilhelm Kaulbach’s monumental fresco, Hunnenschlacht. Liszt was attracted by the idea of religious devotion and at the same time identified himself with the Huns. This paper considers the ways in which Liszt expressed the narrative plot and imitated the visual qualities of the Hunnenschlacht fresco by deploying innovative instrumental techniques and a progressive formal structure. This work illustrates Liszt’s interest in combining different art forms, and the prominent use of an apotheosis is an expression of the Beethovenian symphonic model. Liszt shared with early-nineteenth-century Romantics such as E. T. A. Hoffmann an interest in synaesthesia, associating colors with sounds. In Hunnenschlacht, he used the graphic illustration of the fresco as his primary source, yet he also attempted to convey the various tone colors associated with the figures. This interpretative process is explained in his preface to the score, in which Liszt describes the lights and colors associated with the Huns, the Romans, and the Cross. The peculiar treatment of instrumentation, including the use of wooden and sponge drum sticks, organ, unusual combinations of instruments, and an audacious treatment of dynamics, vibrantly depict the distinct colors or lights that envelop the principal figures in the painting.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.

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The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.

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The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Adler, Kathleen. "THE APOTHEOSIS OF DEGAS." Art History 13, no. 1 (March 1990): 118–22. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00382.x.

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Rattigan, Neil. "Apotheosis of the Ocker." Journal of Popular Film and Television 15, no. 4 (January 1988): 148–55. http://dx.doi.org/10.1080/01956051.1988.9944096.

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Dissertations / Theses on the topic "Apotheosis in art"

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wolf, roger. "ADAPTIVE TECHNOMYTHOGRAPHY: THE APOTHEOSIS OF MACHINE AND DEVELOPMENT OF LEGEND IN A SYSTEM OF DYNAMIC TECHNOLOGY." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2461.

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Human beings will effectively deify any suitably complex system that cannot be explained through basic haptic interaction. Our culture loves technology. These days it seems we need it to feel whole. In an effort to explore the development of mythology and modular aesthetic in a technological age I have designed and constructed a number of interactive robotic 'organisms' to engage in arbitrary movement in geometric enclosures. Through observation and dialog I seek to assess the extent to which people assign human characteristics to the random and oft times aberrant mechanical behavior. To supplement this endeavor, a fictional astrological system that proposes logical (albeit mythological) explanations for the peculiarities in these relationships has been created.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Hansen, Inge Lyse. "Roman women portrayed in divine guises : reality and construct in female imaging." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/17577.

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The thesis concerns representations of Roman women of the imperial period depicted in the guise of a divinity. Portraits of women of all social levels have been included as have representations in any media excluding numismatic evidence. The latter, with its specific contextual characteristics, is only included and discussed as comparanda for the main body of material. The juxtaposition of a recognisable reality and a heightened reality in these representations raises a variety of interpretative questions: whether it is possible to establish a correlation between the mythological interpretation of a goddess and the socio-personal interpretation of an image of a mortal woman; the nature of the message being communicated through the choice of a particular deity; and whether the choice of deity for association in some way may be seen to conform to established ideals or topoi for women. The work examines Roman portraiture as a vehicle for self-expression and the transmission of ideals. Various aspects of the 'mechanics' for achieving this (idealisation, imitation, etc.) are investigated. Though, of particular importance to the argument is the relationship between image and spectator: the perception of portraits and the various factors contributing to forming an interpretation. Thus portraiture is established as a medium which within its contextual framework also includes the spectator - and the spectator's cultural reference points. The main body of the thesis centres on a dual examination of the range of deities with which Roman women were associated and the women presented in the divine guises, respectively proposing avenues of interpretations for the divine allusions and offering suggestions for methods of interpreting their use. The examination of the various deities in whose guises Roman women appear is also juxtaposed with the distinctions and attributes used to characterise women in literary and epigraphic sources. The correlation between these helps to elucidate the values represented in the images of women under discussion, and how they fit within a framework of ideals and virtues, and with the social personae of Roman women. Similarly, affinities between social status and mythological depiction are juxtaposed with a discussion of the role of the mythological representations themselves - exploring especially the relationship between mythological narrative and the tradition of exempla in Roman literature. It is further argued that interpretation is influenced also by viewer response - encouraged through empathetic identification and social emulation - and that the images of women in divine guises therefore may be perceived both as revealing intrinsic personal characteristics and as a costume symbolically articulating aspirational values. The inherent duality in these representations does in other words not so much concern degrees of reality as interacting realities: the individual"as a social participant, the public persona evidencing personal virtues. The images of Roman women presented therefore contain equally a reconfiguring response to the world and a socialising affirmation of identity.
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Harvell, Elizabeth A. "The Naturalist." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4610/.

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The Naturalist is a collection of poems with a critical preface. In this preface, titled "'Death is the mother of beauty': The Contemporary Elegy and the Search for the Dead," I examine contemporary alterations and manifestations of the traditional genre of elegy. I explore the idea that the contemporary mourner is aware of the need to search for meaning despite living in a world without a centrally believed mythology. This search exposes the mourner's need to remain connected to the dead and, by proxy, to grace. I conclude that the contemporary elegy, through metaphorical figuration, personal memory, and traditional symbolism, simultaneously employs and denies the traditional elegiac conventions of apotheosis and resurrection by reconceiving them as methods not of achieving transcendence but of embracing desire with an acceptance of the inability to transcend. The poems of The Naturalist are a collection of elegies that reflect many of the ideas brought forth in the preface.
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Books on the topic "Apotheosis in art"

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Grishin, Sasha. Garry Shead: The apotheosis of Ern Malley. 2nd ed. Collingwood, Vic: Australian Galleries, 2008.

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Grishin, Sasha. Garry Shead: The apotheosis of Ern Malley. Woollahra, N.S.W: Voigt Drury Pub., 2008.

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Prendergast, Christopher. Eylau: Napoleon and history painting. Oxford: Clarendon Press, 1997.

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Italy. Ministero per i beni e le attività culturali and Italy. Soprintendenza speciale per il patrimonio storico, artistico ed etnoantropologico e per il Polo museale della città di Roma, eds. Apoteosi da uomini a dei: Il Mausoleo di Adriano. Roma: Munus, 2014.

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Napoleon and history painting: Antoine-Jean Gros's La Bataille d'Eylau. Oxford: Clarendon Press, 1997.

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Darstellungen hellenistischer Könige mit Götterattributen. Frankfurt am Main: P. Lang, 1995.

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Exuberant apotheoses- Italian frescoes in the Holy Roman Empire: Visual culture and princely power in the Age of Enlightenment. Boston: Brill, 2016.

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Imago boni principis: Der Perseus-Mythos zwischen Apotheose und Heilserwartung in der politischen Öffentlichkeit des 16. Jahrhunderts. Münster: Lit, 2000.

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Apotheose des Krieges: Leben und Werk des russischen Malers Wassili Wereschagin : Studien und Materialien : die Gemäldezyklen zur russischen Eroberung Turkestans und zum Balkankrieg 1877-1878 : die Ausstellungen zwischen 1881 und 1886 in Wien und Berlin : der Künstler, das Publikum, die Presse. Hamburg: I. Kämpfer, 2001.

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We are being transformed: Deification in Paul's soteriology. Berlin: De Gruyter, 2012.

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Book chapters on the topic "Apotheosis in art"

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Meisner, Nadine. "Apotheosis." In Marius Petipa, 291–96. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0012.

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In recent times there has been a re-evaluation of artistic values in all areas of art, views on art have changed in many ways, new trends have appeared and the ballets of Petipa have, of course, receded into the background. But the merit of Petipa has not diminished at all, it will remain eternal in the annals of Russian choreography, which today has earned worldwide fame and universal recognition....
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"The apotheosis of video art." In Re-envisioning the Contemporary Art Canon, 141–53. New York : Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315639772-15.

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Bradshaw, Melissa. "“The Apotheosis of Edith”." In The Many Facades of Edith Sitwell. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054421.003.0004.

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This chapter focuses on Cecil Beaton’s famous photographs of Edith, Osbert, and Sacheverell Sitwell. These photographs offer a summary of the ideological motivations for the Sitwells’ artistic activism in the 1920s, a visual representation of their most fervent beliefs about the role of art in British culture. The chapter acknowledges that they were motivated by the desire for publicity and that their many public battles had less to do with deeply felt principles than with opportunism and an eagerness to turn real or imagined slights into highly publicized feuds; however, it argues that Beaton’s 1927 photographs of the Sitwells are also evidence of their investment in a thoughtful reappraisal of British culture after the Great War and in a vigorous revision of the role of the aristocracy within that culture.
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Robinson, Cicely. "The apotheosis of Nelson in the National Gallery of Naval Art." In A new naval history, 151–74. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526113801.003.0008.

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The National Gallery of Naval Art was situated within the Painted Hall at Greenwich Hospital from 1824 until 1936. This collection of British naval paintings, sculptures and curiosities was the first ‘national’ collection to be acquired and exhibited for the general public, preceding the foundation of the National Gallery by a matter of months. Installed in the wake of the Revolutionary and Napoleonic Wars, the Naval Gallery, as it was more commonly known, was founded to ‘commemorate the splendid Services of the Royal Navy of England’. This paper explores how naval heroism was constructed and commemorated within the gallery space, particularly through the presentation of combat and the recognition of resulting injury, amputation or fatality. Nelson was represented at numerous points across the gallery space, providing us with the most thorough example of this heroic construct. Situated upon the same spot in the Painted Hall where the body had been laid in state in 1806, this site of naval veneration bordered on a quasi-religious mausoleum. This paper examines the role that the Naval Gallery played in the apotheosis of this national hero, establishing an initial commemorative prototype upon which a wider national Nelsonic mythology can be seen to have developed.
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Robinson, Cicely. "The apotheosis of Nelson in the National Gallery of Naval Art." In A new naval history. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526113825.00015.

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Moore, Daniel. "Conclusion: ‘Half-baked if you like’—modernist afterlives in Britain, 1945–1951." In Insane Acquaintances, 150–72. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.003.0006.

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This chapter concludes Insane Acquaintances, reflecting on some of the legacies of the pre-War modernist activity in Britain. It argues that while, ultimately, the revolution in taste that so many of the mediators of modernism in Britain wished to enact did not take place, the legacies of their activities continued to be felt after the War. Indeed, the kinds of activity that Fry, Read and others agitated for before the War – an engagement with continental non-representational art amongst the public, the fostering of state activity to encourage experimental art, and the development of an institutional apparatus to support and scaffold such art – reached their apotheosis in the first years of the post-War consensus. This chapter explores some of these afterlives of the modernist moment in Britain.
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Armstrong, Joshua. "Deep Dérive." In Maps and Territories, 140–66. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942012.003.0007.

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Chapter Six, ‘Deep Dérive,’ explores Philippe Vasset’s La conjuration [The Conjuration] (2013). Vasset’s novel depicts a Paris now fully governed by logics of capitalist urban planning and spectacle. Vasset’s would-be psychogeographer narrator suffers existential crisis in such conditions. For him, the city has reduced its users to the role of those ‘computer-generated nobodies’ who appear in the proudly displayed images of future shopping centers. However, he founds a cult that develops, to mystical proportions, the art of anonymity, until they are able to penetrate undetected into even the most high-security skyscrapers of La Défense. In the ultimate psychogeographical space-hack, the cult is thus able to ‘abolish at will the frontier between public space and private property.’ As they circulate like ‘a school of fish’ through the urban fabric, they would experience the city in all its infinite nuance. However, as their ‘powers’ grow, abstraction and eschatology ultimately depict them as having lost touch with the territory. Their true, ironic, apotheosis comes when they fully resemble those ‘computer-generated nobodies’ that had fascinated the narrator early on. Vasset’s novel is read in the light of Situationist notions of the city and Bruno Latour’s writings on panoptica and oligoptica.
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Huebner, Steven. "The Apotheosis of Ernest Chausson." In French Opera at the Fin de Siecle, 351–58. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780195189544.003.0023.

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Riley, Kathleen. "Seamus Heaney’s Seeing Things (1991), District and Circle (2006), and Human Chain (2010)." In Imagining Ithaca, 252–67. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852971.003.0019.

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This chapter examines Seamus Heaney’s abiding preoccupation with the idea of nostos, focusing on three volumes of his poetry, Seeing Things (1991), District and Circle (2006), and Human Chain (2010). Heaney consistently associated the act of returning home with that of katabasis, of descending into the dark to meet one’s familiar dead, not least one’s father and literary fathers. His late poetry in particular is permeated by the theme of nostalgic descent and expressive of a filial odyssey that has Aeneas rather than Telemachus as its direct paradigm. The chapter considers how, in his nostalgic katabases, Heaney performed the roles of both pius Aeneas and pius vates, and how these twin functions reached their apotheosis in his posthumously published translation of Aeneid 6, a book Heaney had ‘internalized and lived with long and dreamily’.
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"Auslegung und Apotheose: Ps 110 und die lukanische Interpretation der Auferstehung." In Scriptural Interpretation at the Interface between Education and Religion, 112–22. BRILL, 2018. http://dx.doi.org/10.1163/9789004385696_008.

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