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1
Binski, P. "Late Gothic England: Art and Display." English Historical Review CXXIV, no. 510 (September 17, 2009): 1156–57. http://dx.doi.org/10.1093/ehr/cep233.
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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (November 7, 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.
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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.
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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.
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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.
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Teijeira Pablos, María Dolores. "La iconografía de Trifonte en el gótico final en los reinos de León y Castilla." Estudios humanísticos. Geografía, historia y arte, no. 13 (February 15, 2021): 287. http://dx.doi.org/10.18002/ehgha.v0i13.6855.
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<span>The three-faces man, a very common subject in gothic works of art from the late fifteenth century, combines the interest in pure ornamentation with a simbolism that is based on the relation profane-religious iconography, in the field of the discoveries of new Lands and the representation of fantastic creatures.</span>
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Buzás, Gergely. "A somogyvári bencés apátsági templom 16. századi újjáépítése és boltozata." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 2 (2013): 91–102. http://dx.doi.org/10.26080/krrmkozl.2013.2.91.
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The aim of the present article is to establish the chronology of the late Gothic rebuilding of the church of the Benedictine abbey of Somogyvár, to present a reconstruction of its nave vault erected at that time, and to analyse the art historical significance and dating of the vault, and the historial context of the construction.
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Demchuk, Stefaniia. "Late Gothic (Antwerp) Mannerism: its Origins, Nature and Decline (a Review of the Literature)." Text and Image: Essential Problems in Art History, no. 2 (2021): 83–94. http://dx.doi.org/10.17721/2519-4801.2021.2.04.
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This essay does not strive to give a comprehensive review of literature on Antwerp Mannerism, but rather to summarize the focal points of discussions and to outline key roadmaps for further studies. The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on the German origins, Vandenbroeck attributed it to an inflow of provincial artists. Whatever were the origins, Expressionist shapes were not inherent to the early Netherlandish painting and the attempt to fuse them with ‘realism’ of the Flemish Primitives seemed a revolutionary breakthrough following the pictorial crisis of the 1480s. Despite a rift in chronology, Antwerp Mannerism has irrefutable similarities with the later Italian Mannerism. Thus exploration of the intellectual and religious context of early sixteenth-century Antwerp art similar to Max Dvořák’s approach can be another direction for further research of the Italian and Spanish Mannerism. The subject matter of Antwerp Mannerist art, too, remains largely unexplored. Dan Ewing’s breakthrough essay showed that the changes in iconography (such as reinvention of the well-known subject) could mark shifts in identity. By no means they are merely ‘anecdotic’ as Paul Philippot stated. What subjects were popular beyond the Adoration of the Magi and why? Were there any secular subjects? How did the iconography of Antwerp art reflect the intersection of different Netherlandish schools of art? How did later artists incorporate the pictorial inventions of the Antwerp Mannerists? Finding an answer to these and similar questions can provide a rich context for further studies on this ‘contrived’ but unique style.
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Lyudmirskaya, Alexandra. "“Brick” rationalism architecture in the eclecticism of religious buildings, public buildings and industrial enterprises of the Taganrog city in the late 19th and early 20th centuries." E3S Web of Conferences 281 (2021): 02012. http://dx.doi.org/10.1051/e3sconf/202128102012.
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The article analyzes the eclectic tradition in the architecture of religious buildings, public buildings and industrial enterprises of Taganrog, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches upon the specifics of the stylistic trends’ manifestation in the “brick style” rationalist architecture.
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Pérez Monzón, Olga. "La imagen del poder nobiliario en Castilla. El arte y las Órdenes Militares en el Tardogótico." Anuario de Estudios Medievales 37, no. 2 (December 7, 2007): 907–56. http://dx.doi.org/10.3989/aem.2007.v37.i2.56.
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Findon, Joanne. "From Ireland Coming: Irish Art from the Early Christian to the Late Gothic Period and Its European Context ed. by Colum Hourihane." Arthuriana 13, no. 3 (2003): 117–18. http://dx.doi.org/10.1353/art.2003.0012.
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Przybyłok, Arkadiusz. "A Figurine from Stare Bielsko - Sexuality in Middle Ages." International Letters of Social and Humanistic Sciences 12 (October 2013): 1–6. http://dx.doi.org/10.18052/www.scipress.com/ilshs.12.1.
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Medieval authorities of the Church unequivocaly condemned sex in its all manifestations. At least, that was their formal stand in this case. Though, relics of the literature, art and archaeology undermine this „prudish” point of view. A ceramic figurine from late Middle Ages, found in Stare Bielsko, shows a couple that is having sex and can be a good example of not such sanctimonious way of thinking. Originally, the figurine could be a handle of a lid which was glazed green. It seems that figurine's ideological essence is not so far from social standards of decadent Gothic.
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Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (July 15, 2005): 273–98. http://dx.doi.org/10.1163/22941932-02603001.
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Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th –16th century origin of the sculptures but also allowed a detailed technical characterization of the carversʼ basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
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Haneca, Kristof, Ria De Boodt, Valérie Herremans, Hilde De Pauw, Joris Van Acker, Carl Van de Velde, and Hans Beeckman. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (2005): 273–98. http://dx.doi.org/10.1163/22941932-90000116.
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Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and anatomical features of 209 wooden sculptures from collections of different museums were analyzed. Tree-ring analysis proved the 15th–16th century origin of the sculptures but also allowed a detailed technical characterization of the carvers' basic material. The striking uniformity of the grain and the sawing pattern revealed that medieval woodcarvers preferred quarter sawn oak lumber, imported from the Baltic area. Stylistic and iconographic hypotheses concerning the current setting of several altarpieces could be founded, based on the wood anatomical and dendrochronological observations. Intensive collaboration between wood biologists and art historians proved to be essential in order to reconstruct the creation process of carved wooden altarpieces.
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Łanuszka, Magdalena. "Late Gothic Panels from the Collection of York Art Gallery: Predella-Wings from the Workshop of Hans Pleydenwurff." Biuletyn Historii Sztuki 81, no. 2 (April 2, 2020): 177–96. http://dx.doi.org/10.36744/bhs.315.
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The article is a result of the research on continental European paintings in York Art Gallery, completed as a part of the project National Inventory of Continental European Paintings. Two late gothic panels, painted on both sides, contain the depictions of three saints in half-length on each side. Nowadays only one of these panels is still in York Art Gallery, as the other one was stolen and its current location remains unknown.
It seems that the panels from York used to be the wings of predellas; however, presented research questions traditional assumption that they may be considered as the parts of predella of the Nuremberg St Catherine of Siena retable, as it seems impossible to fit them into the reconstruction that would be iconographically reasonable and suiting the eighteenth century descriptions. The altar of St Catherine of Siena was completed in 1464 by the workshop of Hans Pleydenwurff, to the St Catherine's Church of the Dominican Nuns' Convent in Nuremberg. The whole structure did not survive; only its wings (panels of the mid-opening and closed retable) are now in the Germanisches Nationalmuseum in Nuremberg (GM137 and GM138 painted on both sides and GM139 and GM140 painted on one side) and in the North Carolina Museum of Art, Raleigh NC, USA (one inner panel of the inner pair of this altar's wings, decorated with the full length depiction of St Leonard). York panels were for sure created around the same time (1460s) and by the same workshop. At least one of them used to be part of the altar dedicated to the Dominican church. However, the panels from York seem to have been prepared as the left wings of two different predellas; it even seems that they may not have originally been of the same size.
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Bel'skaya, Anna O. "FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2020): 131–49. http://dx.doi.org/10.28995/2073-6401-2020-3-131-149.
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The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book
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Farr, Carol. "From Ireland Coming: Irish Art from the Early Christian to the Late Gothic Period and Its European Context. Colum Hourihane." Speculum 78, no. 3 (July 2003): 899–902. http://dx.doi.org/10.1017/s0038713400131914.
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Patała, Agnieszka. "Left / abandoned / post-German. Late Gothic Silesian Retables and Their New Settings in the Monastery Church in Mogiła (Cracow), and the Cathedrals in Warsaw and Poznań in the 1940s and 1950s." Ikonotheka, no. 31 (September 20, 2022): 49–81. http://dx.doi.org/10.31338/2657-6015ik.31.3.
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Based on three case studies, the text presents the analysis of the process of the reappropriation of three selected “left”/”abandoned”/”post-German” medieval artworks in the three important conservation projects from the first decade of the post-war reconstruction of Poland (1945–1955). The circumstances, course and consequences of mounting late gothic Silesian altarpieces in the presbyteries of the monastery church in Mogiła and in the rebuilt and restored cathedrals in Warsaw and Poznań will be traced. This will enhance the analysis of the process of post-war creation of three monuments of Polish medieval art, different in their architectural and artistic costume and history. They will be examined in the context of foreign artworks, which despite being “left”/”abandoned” remained the carriers of a complicated, multithreaded history, unknown to or ignored by decision-makers.
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Murray, Andrew. "Mourning and non-ordered religious behaviour in the tombs of Philip the Bold, John the Fearless and Margaret of Bavaria." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 72, no. 1 (November 14, 2022): 22–57. http://dx.doi.org/10.1163/22145966-07201002.
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Abstract The tomb of the Burgundian duke Philip the Bold in Dijon, designed by the Haarlem-born sculptor Claus Sluter, holds a key position in the development of Western funerary art, especially on account of the lively and moving depiction of the cortège of weepers around the tomb. In this monument it is they who provide an example to their beholders – namely, how to mourn the deceased ruler. Not only do these expressive statuettes encourage the viewer to pray for Philip’s soul, but they also evoke the actual funeral liturgy of the duke. While the clerical mourners move in a single direction and form a procession, the lay figures seem to move more freely, directing themselves towards the tomb’s onlookers and stimulating them to pray for Philip’s afterlife. This conflation of transitional and everlasting rituals expresses a duality in late Gothic attitudes towards death.
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Slepukhin, Victor V. "Soviet Architecture of the 1930-1950s." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 37–52. http://dx.doi.org/10.36340/2071-6818-2022-18-1-37-52.
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The article is devoted to the Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period. The author defines its place among such architectural styles and movements as Art Nouveau, Rationalism and Constructivism, as well as among foreign architectural movements of the middle of the 20th century. In aesthetic essence, the Stalinist Empire style was closely associated with Imperial Classicism. It was called upon to perform the functions of glorifying the power of the new young state. Stylistically, it inherited the Baroque, Napoleonic Empire style, late Classicism, Art Deco and Neo-Gothic; the details of these styles contributed to achieving a sense of luxury, pomposity and grandeur. The inner meaning of the new architectural theory and socialist realism, in general, was the comprehensibility of architecture to the masses: completeness, orderliness, monumentality. The architecture of the Stalinist Empire style, which to a certain extent contradicted the rather difficult situation of the country both in the pre-war and post-war periods, was called upon to convey the idea of striving for a bright future, embodied the architectural future that awaited people of the Soviet country.
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Makała, Rafał. "Nawiązania do tradycji nowożytnej w ceglanej architekturze wczesnomodernistycznej północnych Niemiec." Porta Aurea, no. 17 (November 27, 2018): 94–111. http://dx.doi.org/10.26881/porta.2018.17.04.
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One of the manifestations of the so called ‘conservative modernism’ was the reference to the brick building tradition in Northern Germany. The trend was primarily associated with the activities of Fritz Schumacher and Fritz Höger in Hamburg and Bremen in the 1920s and 1930s, but the genesis of this architecture dates back to the first decade of the 20th century and is associated with the attempts to shape North German patriotism. Just as in the art of neo-Gothic, brick architecture of ‘conservative modernism’ was meant to express the ‘North German Identity’, and in fact help in the creation of identities of the Bismarck Germany. Like the late neo-Gothic architecture, this architecture was perceived as a kind of ‘Hanseatic style’, reflecting the specificity (perceived in a mythologized way) of the Hanseatic League as a prefiguration of the New Germany and their power in maritime trade. Early-modern architecture continued to refer to the art of the past. However, the way of referring to the past changed: with only few quotes from the old art, with a considerable simplification of historical styles’ and so did the historical point of reference. In addition, the modernists became more interested in the brick building of the 17th and 18th centuries, the times of the Baroque and early Neoclassicism. Tis is evident in the works of the most important architects of North German modernism, including Fritz Höger, Fritz Schumacher, or Bruno Möhring but also works of lesser-known, though certainly interesting artists like Johann Garlef, Erich Blunck or Eugen Prinz. The interest of the North German architects of early modernism in brick construction is an element of a wider process that had been thriving in Northern Germany since the early 1900s. Interestingly enough, this process was equally intense in great artistic centres (Hamburg and Bremen) as well as in less-significant cities which were looking for their identity or tried to recreate it, as was the case in Kiel, Lubec or Szczecin. Tis paper is an attempt to show the evolution of this architecture and its most important features. The examples have been selected to show the most important characteristics of this architecture and its geographical range.
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Kobylińska, Weronika. "Carved by Light of Cities with a Chisel. Kraków Retable of the Dormition of the Blessed Virgin Mary Altar through Stanisław Kolowca 's Lens." Artium Quaestiones, no. 33 (December 30, 2022): 87–106. http://dx.doi.org/10.14746/aq.2022.33.4.
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On two occasions (around 1932–1933 and after the war, between 1946 and 1950), Stanisław Kolowca (1904–1968) undertook the task of creating the photographic documentation of the reredos of the altar of the Dormition of the Blessed Virgin Mary in Kraków (Poland). The stature of Wit Stwosz’s work – widely recognized as one of the key late Gothic masterpieces in Europe – could be the only factor legitimizing the status of Kolowca’s photographs. Nevertheless, the photographs seem to deserve a thorough analysis for other reasons as well. It should be underlined that in his project Kolowca did not focus only on the most obvious shots illustrating the altarpiece. In addition to long shots and full shots showing the characteristic iconographic motifs and portrait-type close-ups, reflecting the mastery of key figures (such as Virgin Mary or John the Baptist), the photographer also created completely unexpected compositions that go beyond the codified frames of documentary photography. Consequently, his works fundamentally problematize the concept of photographic reproduction of an art piece.
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Gutnyk, M., and O. Tverytnykova. "The contribution of technological institute teachers to the transformation of the architectural space of Kharkiv City." Studies in history and philosophy of science and technology 31, no. 2 (December 20, 2022): 48–61. http://dx.doi.org/10.15421/272219.
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The article analyzes the transformation processes that took place in the Kharkiv city in the late XIX – early XX centuries. Kharkiv was one of the largest cities in the South of the then Russian Empire. With the beginning of the industrial revolution, the urban environment changed in its facilities and infrastructure. The interaction of city dwellers with the built environment was manifested in the erection of stone townhouses, the opening of the Institute of Technology, a Public Library, and religious buildings, as well as the improvement of life conditions. It was the teachers and graduates of the Institute of Technology who played a leading role in the development of the urban environment. Among the leading architects of that time, it is necessary to single out the achievements of Marian-Jozef- Zdzislaw Charmanskyi, Oleksiy Beketov, Oleksandr Hinzburh, Serhyi Zagoskin, and Mykhailo Lovtsov. If at the end of the XIX century the architectural style of the city of Kharkiv was more of a combination of rationalism, Neo-Renaissance and Neo-Gothic, then from the beginning of the new century the city was built in the Art Nouveau style. It was on the territory of Ukraine that this style had its peculiarities, the so-called Ukrainian Art Nouveau (Modern) appeared. Today, Kharkiv has the largest number of buildings in this style.
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Maiste, Juhan. "Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn." Baltic Journal of Art History 20 (December 27, 2020): 59–80. http://dx.doi.org/10.12697/bjah.2020.20.02.
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In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with
the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.
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Kotliar, Elena Romanovna, and Ekaterina Sergeevna Kuznetsova-Bondarenko. "The Role of Stained Glass in the Sacred Visual Semiosis of Religious Buildings in Crimea." Философия и культура, no. 10 (October 2022): 12–24. http://dx.doi.org/10.7256/2454-0757.2022.10.38998.
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The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects.
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Kivett, Hanan A. "Fusion of Creativity in Rail Transit Stations: A Retrospective and Critique." Transportation Research Record: Journal of the Transportation Research Board 1549, no. 1 (January 1996): 75–78. http://dx.doi.org/10.1177/0361198196154900110.
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The past, present, and future provide a framework for this discussion of the fusion of creativity among artists, architects, and engineers represented in the design of urban rail transit stations. The fusion of talent has a highly recognized past. Washington's Union Station, built early in this century, was restored to its original grandeur and is a major tourist attraction in the nation's capital. The power of the state is exploited in the Moscow subway, where stations take on a decorative quality found in the great monuments of Europe during the Gothic and High Renaissance era of architectural history. Transit stations designed in the late 1960s and 1970s in this country have had limited involvement by artists. Washington's Metro has a unique image created by architects and engineers dominating the underground stations. The power of nature in architecture was realized in Atlanta's Peachtree Station, where a rock cavern became an integral part of the station. The most successful fusion of art, architecture, and engineering in the 1970s was realized in the Stockholm Metro's underground stations, where artists were involved in every aspect of the design. The present is represented by five stations in the Seattle Underground completed in 1990—a gallery of art and architecture. Five stations operational on the Los Angeles Metro Red Line and eight more under construction will bring to reality the fusion of creativity. The future may once again see artists, architects, and engineers combining their talents to produce landmarks that will endure through the twenty-first century as Washington's Union Station has done in this century.
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Romero Medina, Raúl. "Plateros tardogóticos de Valladolid al servicio de la Casa Ducal de Medinaceli. A propósito de ciertas joyas para Doña María de Silva y Toledo = Late Gothic Master Silversmiths from Valladolid at the Service of the Ducal House of Medinaceli: Jewels for Doña María de Silva and Toledo." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 259. http://dx.doi.org/10.5944/etfvii.6.2018.20790.
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A principios del siglo XVI, la Casa Ducal de Medinaceli era una de las familias aristocráticas más distinguidas en Castilla. El matrimonio formado por los II duques de Medinaceli, don Juan de la Cerda y doña María de Silva y Toledo, desarrolló una especial sensibilidad hacia el arte y la cultura. Los encargos de joyas para la duquesa de Medinaceli son una prueba de ello y permiten avanzar en el conocimiento de su valor y los nombres de los plateros, orfebres tardogóticos, que se vieron implicados, así como contextualizar el foco de Valladolid y los marcadores de plata que se documentan como Abdinete o Francisco de Cuenca, cuyos punzones se distinguen hoy en otras piezas conservadas.At the beginning of the 16th century, the Ducal House of Medinaceli was one of the most distinguished aristocratic families in Castile. The couple formed by Don Juan de la Cerda and Doña Maria de Silva and Toledo developed a special interest in art and culture. Jewelry orders for the Duchess of Medinaceli prove this interest and allow us to know their value, and the names of the late Gothic master silversmiths and goldsmiths who were involved in the process. This study also allows us to contextualize Valladolid and the markers of silver that are documented as Abdinete or Francisco de Cuenca, whose bodkins are still recogized today in other preserved pieces.
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Рындина, А. В. "Grieving Saviour in Rrussian carvings of the 18th–19th centuries: moving from traditions to new solutions." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 188–203. http://dx.doi.org/10.46748/arteuras.2022.02.019.
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В статье изложены результаты исследования, имевшего целью систематизировать обширный пласт русских художественных памятников на тему Страстей Господних, не вдаваясь в анализ стилистических нюансов резьбы, что представляется возможным лишь на следующем этапе их изучения. Среди них можно выявить три основных типа: сакрально-топографический (Христос в темнице), символико-литургический (Скорбящий Спаситель) и, наконец, вариант наиболее сложный для смыслового истолкования, который условно можно отнести к историческим (группа пермских скульптур, где Христос изображен в препоясанных одеждах). Православное искусство «неотделимо от богословия» (И. Мейендорф), поэтому европейский антропоцентризм и иллюзионизм не укоренились на почве русской храмовой скульптуры, несмотря на безусловный исходный импульс извне. Напитанная литургическим смыслом, изначальным для русского церковного искусства и не искорененным даже в Новое время (П. Муратов назвал это свойство «твердостью» русского искусства), скульптура дистанцировалась как от ренессансной имитации, так и от позднеготического и маньеристского мистицизма, но при этом не стала простым ответвлением фольклора, а вошла в церковное творчество Нового времени как «икона Страстей Христовых». В этом — причина глубокого вхождения образа Скорбящего Спасителя в русскую религиозность, народную поэзию и храмовое убранство XVIII–XIX веков вплоть до эпохи модерна. The article tries to systematize a great variety of Russian carved images of Christ’s Passion, without delving into detailed analysis of the stylistic characteristics and nuances of the carving, which study seems possible only at the next stage. Among the wooden statues, three main types can be identified: sacral and spatial (Christ in prison), symbolic and liturgical (Grieving Saviour) and, finally, the group most difficult for semantic interpretation, which can conditionally be attributed as historical (Perm sculptures, Christ is depicted in girded garment). Orthodox art is “inseparable from theology” (J. Meyendorff), thus European anthropocentrism and illusionism did not root into Russian ecclesiastical sculpture, despite an unconditional impulse from outside. Wooden sculpture is saturated with liturgical meaning, which always was primordial for Russian church art, and even not eradicated in modern times (P. Muratov considered Russian art to be “unrelenting”). It distanced itself both from Renaissance imitation and from late Gothic and Mannerist mysticism. At the same time, carving has not become just a part of folklore, a folk art, but became an “icon of Christ’s Passion” in the church artwork of the New Age. This is the reason for the deep introduction of the Grieving Saviour image into Russian devoutness, folk poetry and interior church decoration in the 18th–19th centuries up to the Art Nouveau times.
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Moskal, Marta. "The images of the warrior saints in the Ukrainian icons with the life scenes of the late Middle Ages." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 61–71. http://dx.doi.org/10.37131/2524-0943-2019-40-8.
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Introduction. The images of Demetrius, Borys and Hlib, Archangel Michael, St. George constitute the largest number of monuments in the Ukrainian icon painting of the Late Middle Ages, which can be enlisted as a rank of holy warriors. Problem Statement. In icon painting of the Late Middle Ages the figures of warrior saints are presented with the added scenes of life and their activities. A detailed analysis of the iconographic, artistic and stylistic features of the icons of holy warriors in the context of the development of national culture will allow to analyze the images of the saints, to reveal the content of the works. Purpose of the article is to ostend of artistic-stylistic, compositional, iconographic, figurative-content content of works of icon painting of the second half of XIV – beginning of XVI century, in which the image of holy warriors are present with the life scenes and scenes of their deeds. Methods. In the article were uses general scientific methods: historical – in the reconstruction of the cultural situation of XIV – beginning of XVI century in the context of sacred art; systematic, with which it was possible to trace the dynamics of changes in the icon-painting canon of the holy warrior on the territory of Ukraine; comparative – in revealing stylistic tendencies in painting traditions on the basis of canonical plots of Orthodox icon painting; iconographic – in revealing the sign stability of images in the system of stylistic coordinates of the icon-canon, as well as stylistic changes that took place in the iconography of the studied period; art studies – to study the compositional-stylistic features of icon-painting monuments of this period. Results. On example of memorials of Ukrainian art with the depiction of warriors saints with the scenes of life revealed the images of holy warriors, analyzed compositional construction, iconography, artistic-stylistic features. Payed attention to the iconographic plot "Killing the dragon" presented in "expanded" and "laconic" variants, as a reflection of the scene of life and miracles of St. George. Conclusion images of life cycles of holy warriors in the art of the Late Middle Ages are a significant thematic group among the complex of Ukrainian icons. In the meanwhile, holy warriors portrayed frontal, full-length (iconographic type of foot soldier), with ascetic gaze, monumental interpretation of the image, expressive drawing. Since in the medium the artists depicted the soldiers in a severe static image, the figures of the saints in the stamps were more free and dynamic to reveal the narrative of the plot of their acts. Artistic-style features of icons depicting holy warriors late XIV-early XV centuries. continue the principles of painting Kievan Rus in combination with the traditions Paleologicheskogo icon-painting style. From the XV century in the icons there are elements of Gothic that manifested itself in the image of an elongated figure of soldiers, helmets, and weapons – a sword. Among the most common images of holy warriors is the figure of the Archangel Michael. In the mediator in the figure of a warrior, we see the embodiment of the image of the head over all angels, the military guard of the gates of paradise, the hero, who is the mediator between God and his people. Among the important attributes that appear in the art of the Late Middle Ages in the images of the Archangel is a symbolic stand, twisted in eight, symbolizing infinity and protecting from the dark forces of evil (Uroboros's image is a snake). In the figure of Demetrius of Thessalonica we see a popular Christian hero ready to defend his native land. In the images of the brothers Borys and Hlib, in the images of the living icon there are features of patriotism and asceticism. In the Ukrainian art of theXIV-XVІ centuries. The iconography of St. John became the most popular. George in the plot "Miracle of the Snake", which is known in two versions: "Expanded" and "Laconic". At the end of the fifteenth century. the iconic motif "Miracle of the Snake" is complemented by the scenes of the life of St. George On the icons of St. George is presented on a horse, piercing through a long thin spear the snake's mouth served in an amorphous form. The very image of the warrior is not endowed with features of courage and militancy, but rather interpreted as a manifestation of spiritual struggle between the monster and the saints. The composition reads the folk principle, which manifested itself in such attributes as keys, horns, profile of the Moon on the wings of the snake and associated with the holiday of spring.
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Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.
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In the 19th century, after a two-centuries oblivion, the interest in a medieval genre “danse macabre” reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - “Les Danses des Morts” by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as “livre partition” - a sheet music book. The article contains the biographical data of the life and creative work of the French scholar, music expert and composer, little-known in Russian musicology. Based on their own translation of the original text, the authors study the structure-content components of the tractate and define its specificity. J.-G. Kastner considers the genre “danse macabre” in the historical, philosophical and aesthetic contexts; traces back the interdependence of literary, decorative, and musical versions of the dances. The tractate of the French musicologist considers in detail the range of instruments of dance macabre (based on the collection of wooden engravings of a gothic Doten Dantz printed in the late 15th century). The authors define the features of J.-G. Kastner’s ideas which differ them from the thanatological views of his predecessors H. Peino and E.-H. Langlois.
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Castiñeiras, Manuel. "Crossing Cultural Boundaries: Saint George in the Eastern Mediterranean under the Latinokratia (13th–14th Centuries) and His Mythification in the Crown of Aragon." Arts 9, no. 3 (September 4, 2020): 95. http://dx.doi.org/10.3390/arts9030095.
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The cult of St George in the Eastern Mediterranean is one of the most extraordinary examples of cohabitation among different religious communities. For a long time, Greek Orthodox, Latins, and Muslims shared shrines dedicated to the Cappadocian warrior in very different places. This phenomenon touches on two aspects of the cult—the intercultural and the transcultural—that should be considered separately. My paper mainly focuses on the cross-cultural value of the cult and the iconography of St George in continental and insular Greece during the Latinokratia (13th–14th centuries). In this area, we face the same phenomenon with similar contradictions to those found in Turkey or Palestine, where George was shared by different communities, but could also serve to strengthen the identity of a particular ethnic group. Venetians, Franks, Genoese, Catalans, and Greeks (Ῥωμαῖοι) sought the protection of St George, and in this process, they tried to physically or figuratively appropriate his image. However, in order to gain a better understanding of the peculiar situation in Frankish-Palaiologian Greece, it is necessary first to analyze the use of images of St George by the Palaiologian dynasty (1261–1453). Later, we will consider this in relation to the cult and the depiction of the saint on a series of artworks and monuments in Frankish and Catalan Greece. The latter enables us to more precisely interrogate the significance of the former cult of St George in the Crown of Aragon and assess the consequences of the rulership of Greece for the flourishing of his iconography in Late Gothic art.
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Powell, Amy Knight. "Late Gothic Abstractions." Gesta 51, no. 1 (January 2012): 71–88. http://dx.doi.org/10.1086/669948.
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Shcheviova, Uliana. "Mural paintings in the decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 79–87. http://dx.doi.org/10.37131/2524-0943-2019-42-11.
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Background. Mural paintings occupy a special place in the ensemble decoration program of the residential buildings entrance spaces in Eastern Galicia at the end of the XIXth – first third of the XXth century. They are at the same level with decorative sculpture, exquisite staircase forging, ornamental floor decor, and polychrome stained glass. Not only do the decorative compositions in the entrance spaces mural paintings serve as a stylistic feature of decoration, but also are a component of owner's self-identification, testify to their aesthetic preferences and cultural level, demonstrate their material capacities. Practically all wealthy residential buildings and villas of the late XIXth – early XXth centuries contained murals as a necessary element of decoration. They were guided by the principle of uniqueness of each art piece. Preserved mural paintings are characterized by the high quality of execution, variety of scenes and color decisions. Many foreign and Ukrainian scholars look into the aesthetics of architecture and the interaction of the synthesis of arts in it: Y. Biryulov, T. Kazantseva, L. Polischuk, O. Silnyk, I. Zhuk, M. Studnytska and others. However, the authors do not analyze mural paintings of the residential buildings interior in Eastern Galicia, especially of the entrance spaces, which are a buffer zone between outside and inside of the building. Thus, at present, numerous design elements that are in the entrance spaces of residential buildings are at risk of extinction. That is why we need to stress the problem of preservation of the authentic artistic paintings within the program of lobbies and stairwells decoration in the residential buildings of Eastern Galicia at the end of the XIXth – first third of the XXth century. For this reason, our research is relevant and topical. The objectives of this article are to typologize artistic mural paintings in the decoration of the entrance spaces of residential buildings in Eastern Galicia at the end of the XIXth – first third of the XXth century according to the stylistic forms (neo-gothic, neo-renaissance, neo-baroque, neo-baroque, neo-rococo, in the empire style and modern) and to classify them into thematic (mythological and allegorical images) and ornamental compositions. Methods. The article uses a complex method of architectural-stylistic and art-study analysis, which covers traditional general scientific approaches to the solution of the tasks. Additionally, the method of field studies has been applied, through which we can obtain reliable information on the status of entrance spaces of living buildings in modern conditions. According to the results of the field studies, the mural paintings in the decoration of the entrance spaces of residential buildings in East Galicia of the late XIXth – first third of the XXth century have been analyzed. Types of paintings were typologies (neo-gothic, neo-renaissance, neo-baroque, neo-rococo, in the empire style and modern). The mural paintings are classified according to the motives (mythological and allegorical images) and ornamental compositions. The correlation between the adornment of ceilings and walls and other arts in the decoration of the entrance spaces of the Eastern Galician residential buildings at the end of the XIXth – first third of the XXth century has been traced. Conclusions. The architecture of each historical period is characterized by a certain color scheme. In the palette of paintings of the late XIXth – early XX centuries the pastel shades are dominant. They create a particularly elevated atmosphere in the interior of the entrance spaces due to the nuance of tone and color. The architectural and artistic themes on the facades of a building are often supported in the interior – entrance spaces. The stylish total ability of decoration does not interfere with their complex texture and color, which is used, all the elements highlight each other, transferring in the tonal emotionality of the system set by the paintings. Unfortunately, the number of mural paintings in the entrance spaces of residential buildings are often being fixed or non-professionally restored (like the mural paintings on 14 Kravchuk St. in Lviv). Because of these factors, the authentic colors fade away and their value significantly decreases. Moreover, mural paintings often crumble as time passes.
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Aspin, Philip. "‘Our Ancient Architecture’: Contesting Cathedrals in Late Georgian England." Architectural History 54 (2011): 213–32. http://dx.doi.org/10.1017/s0066622x00004056.
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Recent research has transformed our understanding of the late eighteenth and early nineteenth centuries as a phase in the wider process of the Gothic Revival. While historical writing on the Gothic Revival had previously tended to see the significance of the period between 1790 and 1820 largely in terms of its academic contribution to the later development of Victorian Gothic Revival architecture, emphasizing especially the role of antiquarian scholarship in providing a basis of archaeological accuracy upon which subsequent architects could draw, more diverse angles have been opened up within the last couple of decades. Research by Simon Bradley, Chris Brooks and others has illuminated debates on the origins of the Gothic style itself and the patriotic language underpinning them, and has added greatly to our understanding of the associations between Gothic and ‘Englishness’. Rosemary Hill has investigated the ambiguous and problematic religious connotations of Gothic. Simon Bradley has authoritatively anatomized the increasingly enthusiastic take-up of Gothic by the Anglican Church in the first few decades of the nineteenth century, and has uncovered a rich prehistory of ecclesiological principles before the foundation of the Camden Society and all its powerfully misleading retrospective propaganda.
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Price, Cheryl Blake. "VEGETABLE MONSTERS: MAN-EATING TREES IN FIN-DE-SIÈCLE FICTION." Victorian Literature and Culture 41, no. 2 (February 15, 2013): 311–27. http://dx.doi.org/10.1017/s1060150312000411.
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Gothic stories and fictionalized travel accounts featuring dangerous exotic plants appeared throughout the nineteenth century and were especially prevalent at the fin de siècle. As the century progressed and the public's fascination with these narratives grew, fictional plants underwent a narrative evolution. By the end of the Victorian period, deadly plants had been transformed from passive poisoners into active carnivores. Stories about man-eating trees, among the most popular of the deadly plant tales, reflect this narrative progression. The trope of the man-eating tree developed out of late eighteenth- and early nineteenth-century accounts of a much less dangerous plant: the Javanese upas. Tales about the upas described the tree as having a poisonous atmosphere which killed every living thing within a several mile radius. The existence of this plant was first reported by a Dutch surgeon named Foersch in a 1783 article published in the London Magazine, and the story was recounted several times throughout the century (“The Valley of Poison” 46). A typical account of the popular tale would highlight the exotic location and the mysterious power of the tree: Somewhere in the far recesses of Java there is, according to Foersch, a dreadful tree, the poisonous secretions of which are so virulent, that they not only kill by contact, but poison the air for several miles around, so that the greater number of those who approach the vegetable monster are killed. Nothing whatever, he tells us, can grow within several miles of the upas tree, except some little trees of the same species. For a distance of about fifteen miles round the spot, the ground is covered with the skeletons of birds, beasts, and human beings. (“The Upas Tree of Fact and Fiction” 12) Even though more credible adventurers revealed the inaccuracies of Foersch's report and thoroughly discredited the fantastic powers attributed to the upas, the story nonetheless took hold of the Victorian imagination. As a result of Foersch's widely-circulated narrative, the word “upas” was rapidly incorporated into the English lexicon; writers such as Erasmus Darwin, Thomas Carlyle, Charlotte Brontë, and Charles Dickens use the upas as a metaphor for a person, object, or idea that has a poisonous, destructive atmosphere. The upas was even a subject for nineteenth-century art, as evidenced by Francis Danby's 1820 gothic painting of a solitary upas tree in the midst of a desolate rocky landscape. Although the myth of the upas focuses on the tree's lethal powers, it is important to note that the upas is, relatively speaking, a very passive “vegetable monster.” The plant is potentially dangerous, but stationary; extremely isolated, it is only harmful to those who rashly ignore the warning signs and wander within the area of its poisonous influence. Even in these exaggerated accounts, the upas is a non-carnivorous monster that grows in a remote, uninhabited area of Java.
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Banić, Silvija. "Zadarski gotički vezeni antependij u Budimpešti." Ars Adriatica, no. 4 (January 1, 2014): 75. http://dx.doi.org/10.15291/ars.490.
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The Museum of Applied Arts (Iparművészeti Múzeum) at Budapest houses an embroidered Gothic antependium which belonged to the church of St Chrysogonus, which was the seat of the Benedictine Abbey at Zadar. At an unspecified time, the antependium became part of the collection of Zsigmund Bubics, an art historian, collector and the bishop of Košice in present-day Slovakia from 1887 to 1906, and was donated to the Museum of Applied Arts in 1909. It measures 94 by 190 cm. The majority of the antependium’s surface is filled with the figures of saints set beneath three pointed, Gothic arches. The central field is occupied by the enthroned Virgin with the Christ Child, in the left field is St Chrysogonus and in the right St Benedict. In the upper section of the antependium one can see the busts of two saints who might be identified as St Gregory the Pope and St Donatus. Along the lateral edges of this triptych-like antependium are vertical borders, at the centres of which are niches with two small standing female saints who wear crowns (St Scholastica and St Anastasia). To the left of the Virgin’s throne is the figure of a donor depicted kneeling with his hands clasped in prayer, which has unfortunately not been provided with an inscription. It is clear, however, that he is wearing the Benedictine habit with a somewhat over-emphasized hood falling down his back. The Benedictine donor might be identified as one of the abbots of the monastery of St Chrysogonus. It is suggested in the article that this may have been John de Ontiaco (Joannes de Onciache) from the bishopric of Lyon, who was the abbot of the monastery of St Chrysogonus from 1345 to 1377. The author argues that the antependium was produced in a weaving workshop in Venice during the late 1360s or early 1370s, on the basis of comparisons with similar contemporary painted and embroidered artworks. Based on the iconographic programme which was depicted on the antependium, but also on the information found in archival records, the author proposes that the antependium was made for the altar of St Chrysogonus which stood in the north apse of the abbey church. Although it has not been established when the antependium left Zadar, based on the similarities between the crimson satin fabric, which replaced the original surface on which the embroidery was applied, on the antependium from the Church of St Mary at Zadar, and the antependium from the Church of St Chrysogonus, it is stated that both interventions were made in the Benedictine Convent of St Mary at Zadar during a short period of time in the last quarter of the eighteenth century. This is also understood as evidence that at that time the antependium from the Church of St Chrysogonus was still being carefully kept at Zadar.
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Mamatov, Gleb M. "Motive of the music of the moon in the poetry by K. D. Balmont." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 78–83. http://dx.doi.org/10.18500/1817-7115-2022-22-1-78-83.
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In the article the motive of the music of the moon in K. D. Balmont’s poetry is researched on the material of his poems, prose and aesthetic articles. Its symbolic value and evolution in books of the early, mature and late periods are explored. The following conclusions are drawn. In the early lyric poetry of Balmont the moon is associated with the oxymoronic motive of the ‘sounding silence’. This motive is determined by the principal role of psychologism in the early poems of the symbolist, the ‘sounding silence’ emphasizes the state of the inner world of the hero, who is always detached from reality and is reflecting on the essence of life and death. The connection of the motive of the ‘sounding silence’ with gothic symbolic range is considered, which is characteristic for the first books by Balmont. In his mature lyrical poetry, the moon is associated with the theme of music, which has a lot of connotations. Firstly, the music of the moon correlates with the traditional motives of poetry and art. In the book Let’s be Like the Sun the world is on the line between lunar silence and melody of strings, which the poet uses to play his odes to the orb of the night. But in mature poetry in the books Only Love. Seven-color Flower, Liturgy of the Beauty. Hymns of the Elements and Sonnets of Sun, Honey and Moon. The song of worlds lunar music is connected with themes of fairy tale, magic, love, dream and phantasy, but at the same time with motives of the illusion, unfeasible reveries, death, specularity and ghostliness. Particular attention is paid to the connection between the motive of lunar music and the philosophy of music of the senior symbolist and his spontaneous mythology. No less important is the functioning of this motive in the poem The Moon, dedicated to the cosmogonic myth of the creation of the world, where moon music is related to the themes of archaic mythology and the motives of initiation, death, rebirth and transformation into a deity.
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Luxford, Julian. "Late Gothic England. Art and display. Edited by Richard Marks. Pp. xv+192 incl. frontispiece+59 black-and-white and 8 colour plates. Donington: Shaun Tyas/London: The Victoria and Albert Museum, 2007. £35. 1 900289 80 6." Journal of Ecclesiastical History 60, no. 2 (March 24, 2009): 360–61. http://dx.doi.org/10.1017/s0022046908007598.
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Kovačević, Marijana. "Olipski fragment gotičkoga srebrnog ophodnog križa s prikazom Sv. Stošije." Ars Adriatica, no. 3 (January 1, 2013): 103. http://dx.doi.org/10.15291/ars.463.
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This paper discusses an interesting silver fragment showing an image of a saint which was found a few years ago in the rectory of the island of Olib. Based on a thorough comparison of the fragment with similar liturgical objects from the wider area of Zadar, especially with the processional cross from Vlašići (Pag), the authoress proposes that the fragment once belonged to a Gothic proccessional cross dating from the end of the 14th century and that it was nailed as the middle part of its reverse side. The image of the saint depicted on this fragment is identified, based partly on the place of its discovery, with the patron saint of the parish of Olib, St.Anastasia. This identification is further strenghtened also by an iconographical analysis of various depictions of St. Ananstasia in Romanesque and Gothic art of Zadar and its area, especially in goldsmiths’ work of the time, where there are relatively many of her images considering that St. Anastasia was the patron saint of Zadar cathedral, where her relic was treasured for centuries, and also one of four main patron saints of this important Adriatic city. That analysis led to the conclusion that there was a certain evolutive change in the depiction of the saintly patroness during that era, and that, starting form ourfragment and the end of the 14th century, she is more often adorned with a book as her standard attribute.It was also noted that the image depicted on the Olib fragment may, perhaps, be identified with St. Catherine of Alexandria who was also often depicted with a book. Namely, she was the patron saint of a church in Novigrad, a small medieval town situated in the hinterland of Zadar,whence its inhabitants could have brought a whole cross, or solely this fragment, centuries after its making, as C. F. Bianchi recorded thet they brought to Olib a worshipped painting when fleeing from the Turks. This move of the local treasure from Novigrad to Olib in times of crisis and flight would thus coincide with the same practice of the move of the processional cross from Gorica to Pašman, as proposed by N. Jakšić. The stumbling stone of this theory is, of, course, the existence of the 14th century processional cross in Novigrad, with very similar image of St. Catherine on its reverse. Although she is iconographically coherent with the saintly image on the fragment from Olib, it is rather difficult toexplain the making of two similar processional crosses in such a short period of time, since the evident stylistic and tehnical differences between the two images allow only for a short time difference. On the other hand, if the saint on the Olib fragment indeed is St. Anastasia, this would mean that the parish church of Olib regularly refurbished its liturgical equipment during the period of less than two centuries, since one processional cross from Olib older than our fragment has also survived, still partly Romanesque in its morphology and iconography, as well as has survived the late 15th century cross attributed to Toma Martinov, goldsmith from Zadar, whose style is already Rennaissance in many aspects. In course of the search for the images of St. Anastasia in the medieval goldsmiths’ work of Zadar it was also observed that the long established iconographical identification of the figures depicted on the luxurious bishop’s staff of the archbishop Maffeo Vallaresso (1460) has to be partially revised.
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Carriger, Michelle Liu. "“Maiden's Armor”: Global Gothic Lolita Fashion Communities and Technologies of Girly Counteridentity." Theatre Survey 60, no. 1 (December 21, 2018): 122–46. http://dx.doi.org/10.1017/s0040557418000522.
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It starts with a dress, or dresses. Among a menagerie of rainbow variations, certain features are standard: lace and ruffle-decked blouses under jumpers, aprons, or high-waisted belled and crinolined knee-length skirts; more skin covered than bare; headwear including bonnets, miniature hats, or massive bows over ringlets and long tresses. So many ruffles; so much lace (Fig. 1). Beginning in the late 1990s,gothic lolitas—overwhelmingly young women in their teens and twenties, and overwhelmingly girly in their outsized bows, platform Mary Jane shoes, and petticoated skirts—stood out as defiantly, bizarrely out of place and time on the Tokyo street scene, all bright white and concrete in Harajuku, a built-up postwar neighborhood of Tokyo known as a youth haven since the 1960s. More than twenty years later, although most Harajuku fashions have died out in keeping with a fad's typically short life cycle, the gothic lolitas have persisted and even multiplied, thanks in large part to the Internet, which has helped muster an army of misfit girl aristocrats not just in Japan but around the globe.
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Schellekens, Jona. "Scrolled Gables of the Sixteenth and Seventeenth Centuries in the Low Countries." Journal of the Society of Architectural Historians 51, no. 4 (December 1, 1992): 430–35. http://dx.doi.org/10.2307/990738.
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Henry-Russell Hitchcock suggested that scrolled gables were a new element in the Low Countries introduced by Renaissance architects in the 1520s. It seems more likely, however, that the scrolled gable derived from Late Gothic Netherlandish prototypes, because of a later date for a façade that Hitchcock considered to be the oldest extant scrolled gable in the Low Countries; and because scrolled gables of a provincial character, which were not mentioned in Hitchcock's study, show more resemblance to Late Gothic prototypes.
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López-Mozo, Ana, and Rosa Senent-Domínguez. "Late Gothic Asymmetrical Diamond Vaults in Spain." Nexus Network Journal 19, no. 2 (April 13, 2017): 323–43. http://dx.doi.org/10.1007/s00004-017-0337-9.
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Wis Molino, Noema. "EL MONASTERIO DE SANTA MARTA. PROCESO DE RESTAURACIÓN Y CONSERVACIÓN DE LA PORTADA DE LA IGLESIA CONVENTUAL DE LA ORDEN DE CLAUSURA DE LAS HERMANAS JERÓNIMAS EN CÓRDOBA, ESPAÑA." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 7 (January 18, 2018): 11. http://dx.doi.org/10.21754/devenir.v4i7.133.
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En los albores del siglo XII, se producía en los Reinos de España la caída del Imperio musulmán y la toma de Córdoba. El proceso de Reconquista comenzó en el suroeste de Andalucía, por la provincia de Jaén, y continuó hacia la ciudad más importante de los territorios del Al Ándalus, Córdoba. Se inició una nueva etapa en la historia y el arte, influenciada por las corrientes del Reino de Castilla, ya bajo la dominación de los reyes cristianos. Durante esta nueva etapa surgieron en la ciudad nuevas tipologías arquitec- tónicas con finalidad religiosa, los palacios-conventos. Uno de los más importantes es el convento de Santa Marta y su iglesia, un hito en la arquitectura de finales del gótico, gracias a la familia de canteros y escultores que llegados desde Burgos ejecutaron para la capital este monumento. La portada principal de la iglesia fue esculpida y proyectada en 1511 por Hernán Ruiz I, maestro mayor de la catedral (anti- gua mezquita del califato cordobés). Este frontal es el objetivo de la investigación y de los trabajos de restauración, que pusieron en valor este conjunto arquitectónico de la Córdoba del siglo XVI. Palabras clave.-Convento Santa Marta, Hernán Ruiz I, Córdoba. ABSTRACTIn the early days of the 12th century, the fall of the Muslim Empire and capture of Cordoba was taking place in the kingdoms of Spain. The process of Reconquista that began in the south-east of Andalucía, through the province of Jaen, and continued towards the most important city of the ter- ritories of Al Ándalus, Cordoba. A new period in art and history began, influenced by trends of the Kingdom of Castilla, already under the control of Christian kings. In the course of this new stage, a new architectural typology emerged in the city. It had religious purpose and are known as the pal- ace-convents. One of the most important edifices is the Santa Marta convent along with its church, a landmark in late Gothic architecture. It owes such characteristics to families of stonemasons and sculptors who arrived from Burgos, making the city into this magnificent site. The main façade of the church was sculpted and designed in 1511 by Hernán Ruiz I, master of the cathedral (former mosque of the caliphate). This front is the subject of research and restoration work, which revalued this architectonical assortment of the Cordoba of the 16th century. Keywords.-Santa Marta monastery, Hernán Ruiz I, Cordoba.
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Edakina, Daria A., and Eduard I. Chernyak. "MONUMENTS OF RUSSIAN ARCHITECTURAL HERITAGE: EXPERIENCE OF TYPOLOGICAL CLASSIFICATION." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 245–56. http://dx.doi.org/10.17223/2220836/42/22.
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The article highlights the almost unexplored issue of the classification of architectural heritage sites. The authors define architectural heritage as a complex of buildings and structures that form the surrounding space and reflect the art of creating these buildings and structures. Pursuing the goal to create a regulating system of Russian architecture monuments, the authors of the article use the architectural style as the main sign of monuments. Reliance on scientific research, written and visual sources allows identifying and characterizing large typological groups of monuments. The first group includes monuments of Russian architectural tradition, created in the period of 11th and 17th centuries on Byzantine and Italian architectural basis. The Baroque style was introduced into Russian architecture in the 18th century. It is characterizes by the magnificence and decorativeness of the details, includes columns, pilasters, sculptural decorations. About a century later, the Baroque was replaced by a style of Classicism. An obligatory element of Classicism monuments is a triangular gable, which rests on columns. Such compositional components as bays, risalitas, and balconies characterize the style. Monuments of classicism form architectural ensembles in Russian cities. The most famous of them is Palace Square in St. Petersburg. Since the mid-19th century, architectural monuments of the Eclectic style have been created. It combines elements of Gothic, Classicism, and folk Russian architecture. Wooden monuments of eclecticism, richly decorated with carvings, make the main pride of Tomsk. At the turn of the 19th and 20th centuries, modern architectural monuments with their characteristic asymmetry of the layout, plant decor in the design of facades are created. Under the influence of the changes brought by the Revolution of 1917, the style of Constructivism spreads in Russian architecture. In the early 1930s, the laconic Constructivism was rejected, the order system returned to the composition of the buildings. They are decorated with stucco moldings and sculptural images. For a long time unnamed, now this style is known as Soviet Neoclassicism. In the late 1950s, monuments of Soviet Neoclassicism were accused of unjustified pomp and parade. In the second half of the 20th century, the trends of Neo-Functionalism and Postmodernism prevail in Russian architecture. The regulating system of architectural monuments proposed in the article allows to characterize objects of architectural heritage, provides continuity of cultural experience.
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Sisa, József. "London and Budapest: A Tale of Two Parliaments." Zeitschrift für Kunstgeschichte 85, no. 1 (March 1, 2022): 97–132. http://dx.doi.org/10.1515/zkg-2022-1007.
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Abstract The Houses of Parliament in London (1835–1860) and the Parliament in Budapest (1885– 1902) are related in many ways. It was due to former Prime Minister Gyula Andrássy’s personal commitment that a riverside site and the Neo-Gothic style were selected for the Hungarian edifice. While the New Palace of Westminster represents the late-medieval English variant of the Gothic style, its Hungarian counterpart is an amalgamation of various Gothic features marshalled into a heterogeneous synthesis. Inevitably the issue of a national style emerged, as well as the representation of royalty on the exterior and in the interior of the building. The Parliament in Budapest was meant tobe a national monument and project the (illusive) image of a Hungary on equal footing with the world’s major countries.
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Wendland, David. "Architekturzeichnung und ihre Rolle beim Entwurf komplexer Werksteinkonstruktionen in Spätmittelalter und Früher Neuzeit." Architectura 47, no. 1-2 (July 24, 2019): 1–23. http://dx.doi.org/10.1515/atc-2017-0001.
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AbstractAlthough the affinity of medieval architectural drawings to the graphic procedures of setting-out has been extensively discussed, the role of scale drawings in the design practice of the late Middle-Ages and the Early Modern period is still subject of debate. This regards also the drawings of complex late Gothic rib vaults. An opportunity for better understanding their precise use and function within the design and planning of complex stone structures is given by a case study on the vault in St. Catherine’s chapel in Strasbourg Cathedral, where an original drawing of the plan can be compared with the existing structure as it was actually built. The vault with looping ribs was completed in 1547. The comparative study of the drawing and the building is based on the previous research on the procedures of stone-planning in late Gothic vaults, and comprises also building archaeology, surveys, and geometric analyses of the vault.
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Bergdoll, Barry. "The Gothic Revival 1720-1870: Literary Sources and Documents Michael Charlesworth An Architect of Promise: George Gilbert Scott Junior (1839-1897) and the Late Gothic Revival Gavin Stamp The Romanesque Revival: Religion, Politics, and Transnational Exchange Kathleen Curran Die École des Beaux-Arts in Paris. Ein gebautes Architekturtraktat des 19. Jahrhunderts Jörn Garleff The Art of Building: From Classicism to Modernity: The Dutch Architectural Debate Auke van der Woud." Journal of the Society of Architectural Historians 63, no. 3 (September 2004): 390–96. http://dx.doi.org/10.2307/4127981.
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Wilson, Christopher. "Building Troyes Cathedral: The Late Gothic Campaigns.Stephen Murray." Speculum 65, no. 2 (April 1990): 464–65. http://dx.doi.org/10.2307/2864347.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Paul, Vivian. "Review: Building Troyes Cathedral: The Late Gothic Campaigns by Stephen Murray." Journal of the Society of Architectural Historians 48, no. 2 (June 1, 1989): 184–85. http://dx.doi.org/10.2307/990359.
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Neagley, Linda Elaine. "Elegant Simplicity: The Late Gothic Plan Design of St.-Maclou in Rouen." Art Bulletin 74, no. 3 (September 1992): 395. http://dx.doi.org/10.2307/3045890.
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Kavaler, Ethan Matt. "Review: Late Gothic Architecture: Its Evolution, Extinction, and Reception, by Robert Bork." Journal of the Society of Architectural Historians 78, no. 4 (December 1, 2019): 475–76. http://dx.doi.org/10.1525/jsah.2019.78.4.475.
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