Academic literature on the topic 'Austria Sculpture'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Austria Sculpture.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Austria Sculpture"
1
Trotsenko, Аnna. "Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 311–26. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292155.
Full textAbstract:
The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.
2
Wardzyński, Michał. "From Red Ruthenia to Rawa Mazowiecka: the Works of the Anonymous “Master of Pełczyska” as a Contribution to the Geography of Rococo Sculpture in Mazovia." Ikonotheka 27 (July 10, 2018): 211–40. http://dx.doi.org/10.5604/01.3001.0012.2334.
Full textAbstract:
Current research on Rococo sculpture in Mazovia and northern Lesser Poland has not taken into consideration Lvov Rococo sculpture. A total of thirteen works by a yet unidentified woodcarving workshop, probably of Lvov provenance, was located at the intersection of these two artistic regions, in the vicinity of Końskie, Opoczno, Przysucha and Rawa Mazowiecka. Its activity, commenced after 1780 in Pełczyska near Wiślica, lasted until ca. 1800, when the reredoses and lesser works of sculpture in Studzianna-Poświętne, Skrzyńsko, Nowy Kazanów, Końskie, Gowarczów, Drzewica, Rawa and Regnów were created. In formal terms, the anonymous “Master of Pełczyska”, as an epigone of the Lvov school of Rococo sculpture, shows a far-reaching dependency on the style of sculptures similar to that in the side altar of the Virgin Mary of Dzików in Tarnogród, in the Zamoyski family fee tail. This reredos was indirectly attributed to master Franciszek Olędzki from Lvov (active since 1771, d. 1792). The oeuvre of the “Master of Pełczyska” constitutes the second-largest assembly of Lvov Rococo sculptures outside the historical Ruthenian lands of the Crown of Poland. At the current stage of research, the discussed works, located at the intersection of the former Sandomierz and Rawa voivodeships, indicate the maximal influential range of these remarkably mobile artists towards the north-west of the Crown of Poland. Their migrations were directly connected, on the one hand, with the artistic crisis that followed the First Partition of the Commonwealth in 1772 and the annexation of Lvov by Austria, and, on the other hand, with the liquidation of monasteries after 1780 and the termination of existing ecclesiastic commissions. The short-lived activity of this workshop in the vicinity of Rawa is an important contribution to the research on the mosaic of external influences on provincial late Rococo sculpture in the fourth quarter of the 18th century in Mazovia.
3
Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.
Full textAbstract:
This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.
4
Piwowarczyk, Renata. "Seed micromorphology of central European Orobanche and Phelipanche (Orobanchaceae) in relation to preferred hosts and systematic implications." Australian Systematic Botany 28, no. 3 (2015): 124. http://dx.doi.org/10.1071/sb15007.
Full textAbstract:
Holoparasitic genera within family Orobanchaceae are characterised by greatly reduced vegetative organs; therefore, seed micromorphology has proved to be a useful complementary taxonomic criterion. Seeds of 160 samples from 54 localities of 26 taxa of the Orobanche and Phelipanche genera occurring in central Europe, specifically from Poland, the Czech Republic, Austria and Slovakia, supplemented by samples from Spain, France and Ukraine, were investigated using scanning electron microscopy. Thirteen quantitative or qualitative morphological characters of seeds were analysed. The following three types of periclinal wall sculpture of seeds were identified: veined and fibrillar in Phelipanche; with oval or elliptic perforations (pitted) in almost all species of Orobanche; with outer periclinal wall smooth, granular or rugged (very rarely visibly pitted), impeding vision of the inner one, occurring only in O. gracilis Sm. and O. coerulescens Stephan in Willd. The influence of different hosts on the features of seeds of eight species is also presented, as well as relationships between seed morphology and taxonomic classification, including problematic taxa. The best diagnostic features include type of ornamentation of the periclinal wall, perforation diameter (in pitted sculpture), fibrillar diameter (in fibrillar sculpture) and width of anticlinal walls. Size and shape of the seeds and cells and the presence of median troughs are variable; however, these features can be helpful when using larger samples. The usefulness of micromorphological studies on seeds of Orobanche and Phelipanche is demonstrated.
5
Van Bussel, Gerard W. "The Visualization of Native-American Peoples in a Late-Nineteenth-Century Sculpture Program in Vienna, Austria." American Indian Culture and Research Journal 31, no. 3 (January 1, 2007): 99–119. http://dx.doi.org/10.17953/aicr.31.3.03787x3q88214611.
Full text
6
Stoner, Joyce Hill. "Connecting to the World's Collections: Making the Case for the Conservation and Preservation of Our Cultural Heritage." International Journal of Cultural Property 17, no. 4 (November 2010): 653–54. http://dx.doi.org/10.1017/s0940739110000378.
Full textAbstract:
Sixty cultural heritage leaders from 32 countries, including representatives from Africa, Asia, the Middle East, South America, Australia, Europe, and North America, gathered in October 2009 in Salzburg, Austria, to develop a series of practical recommendations to ensure optimal collections conservation worldwide. Convened at Schloss Leopoldskron, the gathering was conducted in partnership by the Salzburg Global Seminar (SGS) and the Institute for Museum and Library Services (IMLS). The participants were conservation specialists from libraries and museums, as well as leaders of major conservation centers and cultural heritage programs from around the world. As cochair Vinod Daniel noted, no previous meeting of conservation professionals has been “as diverse as this, with people from as many parts of the world, as cross-disciplinary as this.” The group addressed central issues in the care and preservation of the world's cultural heritage, including moveable objects (library materials, books, archives, paintings, sculpture, decorative arts, photographic collections, art on paper, and archaeological and ethnographic objects) and immoveable heritage (buildings and archaeological sites).
7
Piwowarczyk, R., A. T. Halamski, and E. Durska. "Seed and pollen morphology in the Orobanche alsatica complex (Orobanchaceae) from central Europe and its taxonomic significance." Australian Systematic Botany 27, no. 2 (2014): 145. http://dx.doi.org/10.1071/sb14013.
Full textAbstract:
Micromorphology of seeds and pollen of Orobanche alsatica, O. bartlingii and O. mayeri, the central European representatives of the O. alsatica aggregate (Orobanchaceae) was investigated on the basis of 32 samples from 18 localities in Poland, Slovakia, Czech Republic, Austria, Bosnia and Herzegovina, and Russia. Concerning seeds, the best taxonomic character is a narrow trough on external sides of radial walls of cells of the seed wall, which is always present and continuous in O. bartlingii, mostly absent in O. mayeri, and mostly present solely at wall segment junctions (vertices) in O. alsatica (individuals parasitising Peucedanum spp.; continuous in parasites of Seseli osseum). As for pollen, the exine sculpture is verrucate in O. mayeri, granulate in O. bartlingii, and granulate to scabrate in O. alsatica. O. alsatica parasitising Peucedanum spp. and Seseli osseum (host-related morphotypes) differ in seed shape, ornamentation and wall-perforation diameter. Variability of seed and pollen characters is high, and identical morphologies occur among the investigated species. The variation coefficient is too strongly correlated with the sample size to be a reliable estimator the taxonomic value of a character. Differences in seed and pollen sculpture, hosts and ecological preferences confirm the separation of the three examined taxa at species level.
8
Bondar, Pavlo. "Lviv sculptor Hartmann Witwer and his artistic family from Imst. New archive find and studies." Bulletin of Lviv National Academy of Arts 50, no. 50 (June 30, 2023): 23–29. http://dx.doi.org/10.37131/2524-0943-2023-50-1-5.
Full textAbstract:
Basing the information of the metric books from the church of the Assumption of the Virgin in Imst (Austria) the Hartmann Witwer date of birth – 22 December 1776 – was specified. Special gratitude is paid to Josef Mair for his assistance in catching out this document that is published for the first time. It was proofed that “Hartmann Witwer” is a true name and surname of sculptor from Austria, who worked in Lviv at the beginning of the XIX century. It was studied out that H. Witwer didn’t have second name as his father Joseph Anton Witwer or his brother Johann Michael Witwer. Using mathematic calculation the mistakes in Lviv documents fixed the date of sculptors’ death as 1825 was find out. The found certificate verified relationship of Hartmann Witwer and Witwer sculptors dynasty from Imst. For the first time it was revealed that Hartmann Witwer was a younger brother of Johann Michael Witwer, and he was not his elder brother or they were not twins as it was considered before. History of Witwers’ artistic family from Imst, members of which during more than one hundred years were making sculptures in the atelier that was inherited from father to son was studied. Directions of sculptural activity of H. Witwers’ grandfathers in the period of their activity and the areal of spreading their works were outlined. Artistic peculiarities of art pieces of the prominent representatives of the family were highlighted. Provably reasons which caused the end of the sculptor dynasty were analyzed in the article. Basing on the special features of the creative process in the family atelier in Imst the hypothesis of principles of cooperation between Hartmann and his brother Johann Michael Witwer in Lviv was proposed.
9
Thøfner, Margit. "Of Elephants and Harmony: Memory, Knowledge and Pleasure in the Joyous Entry of Albert of Austria and Isabella of Spain into Antwerp." CHEIRON, no. 1 (February 2022): 39–67. http://dx.doi.org/10.3280/che2021-001003.
Full textAbstract:
This essay is about a sculpted elephant set on a wheeled base, an early modern festival float belonging to the city of Antwerp in present-day Belgium. Twice a year, during civic processions known as ommegangen, this float was paraded through the streets of Antwerp. However, on 10 December 1599, the civic authorities deployed the elephant as a stationary pageant, to form part of a different festival, the Joyous Entry of the Infanta Isabella Clara Eugenia and her husband, Archduke Albert of Austria. This article explores the many roles and resonances pertaining to this specific use of the float. The article is therefore a detailed case study of how one Habsburg subject city deployed one particular sculpture within urban pageantry to articulate and negotiate its often fraught relationship to its overlords and its position within the broader Luso-Hispanic Empire. At the same time, I show how the Antwerp urban elite drew on diverse forms of knowledge - historical, geographical, dynastic, scientific, musical and religious - to address and, to a certain extent, domesticate their courtly visitors.
10
Zenz, Katharina, Herbert Zettel, Michael Kuhlmann, and Harald W. Krenn. "Morphology, pollen preferences and DNA-barcoding of five Austrian species in the Colletes succinctus group (Hymenoptera, Apidae)." Deutsche Entomologische Zeitschrift 68, no. 1 (February 2, 2021): 101–38. http://dx.doi.org/10.3897/dez.68.55732.
Full textAbstract:
Most species of the Colletes succinctus group sensu Noskiewicz, 1936 are taxonomically uncertain. This study has chosen an integrative approach, including pollen analysis, morphology, male genitalia, morphometry, cuticle sculpture and DNA-barcoding (CO1) to investigate the five species that were reported from Austria. It includes a detailed analysis of the male genitalia and the first description of the C. pannonicus male. A syntype male from the island of Crete was designated as the lectotype of Colletes succinctus brevigena Noskiewicz, 1936 to fix the species identity. New distinguishing characters were found: in females the shape of the dorsal end of the fovea facialis and, in both sexes, the structure of maxillary palpi, as well as the different puncturation on the mesopleura. Unknown structures on sterna and genitalia of the males proved to be reliable morphological characters. An identification key is provided for all studied species. Morphometry of females did not allow a clear distinction of species. CO1 sequencing confirmed previous studies that only C. collaris clearly deviates from the other species, including C. pannonicus that was analysed for the first time. Pollen analysis showed polylectic, as well as oligolectic, pollen-collecting behaviour. The collected pollen of C. pannonicus confirmed the field observations that this species is strictly oligolectic on Tripolium pannonicum. Due to pronounced intraspecific variation, it is assumed that the species of the C. succinctus group are either species in statu nascendi or very young species. Therefore, it remains important to include ecological data in species identification.
Dissertations / Theses on the topic "Austria Sculpture"
1
Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
Full textAbstract:
This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format.
Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly.
By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation.
This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
2
Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition." Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.
Full text
3
Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
Full textAbstract:
The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
4
Regan, Clarissa. "Transforming tales : fairy stories in a contemporary world." Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/21678.
Full textAbstract:
Dissertation The research undertaken examines the functions and role of narrative in society, looks at examples of narrative in ceramic art and describes the use of narrative in a series of ceramic sculptures created by the author during 2007, 2008 and 2009. Changes in ceramic form historically are also described, with reference to Greek, Chinese and contemporary ceramic artists including Grayson Perry, Betty Woodman, Rudy Autio and Antje Scharfe. Critic Garth Clark’s concept of the ‘pot as drawing’ is also discussed. Two traditional fairy tales, Hansel and Gretel and Bluebeard are discussed and analyzed for their narrative content, as well as from a Jungian psychological perspective. Theorists Julius Heuscher, Bruno Bettelheim, Sheldon Cashdan, Max Luthi, Marina Warner and Clarissa Pinkola Estes are cited for their insights into the structure of these stories. How these two stories can be usefully understood in contemporary society is also discussed; including the issues raised of commodity and consumer culture, childhood play, containment and captivity and secrecy in institutions and medical settings. These concerns are discussed through the ideas of Jean Baudrillard, John Evans and Jon Goss. Studio Work The studio work consists of a series of ceramic sculptures rethinking the narratives of Hansel and Gretel and Bluebeard in a contemporary world. The three-dimensional clay and mixed media objects examine the ideas of containment, cages, materialism, barriers, and secrecy. My intent was to find metaphoric ways of expressing these complex ideas in a physical form. The objects have been created using the ceramic methods of throwing and slab-building. Research was undertaken into using print-making technologies in ceramic work, with IX new applications of screen-printing technologies on glazed surfaces, porcelain slabs, solar-plate technology and digital decals. The work also explored the development of the ceramic form; the interaction between the use of cut-out figures and the underlying form, the idea of a ‘pot as drawing’ and its further extension as installation.
5
Stewart, Sally. "Contemporary Kitsch: An examination through creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1717.
Full textAbstract:
This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life.
Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience.
Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societies
6
Murphy, Kate M. "Report from Sculpture Workshop." Master's thesis, 2000. http://hdl.handle.net/1885/155514.
Full text
8
Hanson, Tricia. "Soft Options : Home and Memory." Master's thesis, 2000. http://hdl.handle.net/1885/155730.
Full text
10
Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history." Phd thesis, 2009. http://hdl.handle.net/1885/7452.
Full textAbstract:
The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom.
Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works.
In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis.
Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.
Books on the topic "Austria Sculpture"
1
Maris, Liška, and MUSA Museum Startgalerie Artothek, eds. Roswitha Ennemoser: Konkretisierung = Concretisation. Wien: Ambra, 2014.
Find full text
2
Austria), Galerie Magnet (Völkermarkt, ed. Bruno Gironcoli: Skulpturen und Arbeiten auf Papier. Völkermarkt [Austria]: Galerie Magnet, 2003.
Find full text
3
Schedlmayer, Nina, 1976- author of text, ed. Heiri Häfliger: Paper lapap. Wien: Schlebrügge.Editor, 2012.
Find full text
4
1954-, Aigner Carl, ed. Paul Zwietnig-Rotterdam: Worklist : painting sculpture projects, 1953-2004. München: Prestel, 2004.
Find full text
5
Krone-Balcke, Ulrike. Der Kefermarkter Altar: Sein Meister und seine Werkstatt. München: Deutscher Kunstverlag, 1999.
Find full text
6
Die Statuenzyklen in den Schlossgärten von Schönbrunn und Nymphenburg: Antikenrezeption nach Stichvorlagen. Hildesheim: G. Olms, 1985.
Find full text
7
Austria) Akten des Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen (15th 2017 Graz. Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen: Der Stifter und sein Monument : Gesellschaft, Ikonographie, Chronologie : 14. bis 20. Juni 2017, Graz/Austria. Graz: Universalmuseum Joanneum, 2019.
Find full text
9
Dorothea, Diemer, Bader-Wiesauer Ursula, and Kuratorium des Hofkirche-Erhaltungsfond (Innsbruck, Austria), eds. Maximilian I.: Der Kenotaph in der Hofkirche zu Innsbruck. Innsbruck: Haymon, 2004.
Find full text
10
Ilse, Krumpöck, Zajic Andreas, and Frodl Bernhard, eds. Die Bildwerke im Heeresgeschichtlichen Museum. Wien: Heeresgeschichtliches Museum, 2004.
Find full textBook chapters on the topic "Austria Sculpture"
1
Tobin, Claudia. "Still Life in Motion." In Modernism and Still Life, 76–123. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0003.
Full textAbstract:
This chapter explores two European movement practices of the early to mid-twentieth century: the Margaret Morris Movement, established c. 1910 by the British dancer, Margaret Morris (1891–1980) in partnership with the Scottish painter and sculptor, J. D. Fergusson (1874–1961); and eurythmy, the synthetic art form and system of spiritual movement established in 1912 by the Austrian scientist and philosopher, Rudolf Steiner (1861–1925). This chapter uncovers the contribution of movement practitioners to the project of re-imagining aesthetic categories through hybrid sculptural, pictorial and poetic forms that engaged the ‘moving stillness’ of the body. It argues that Morris’s dance system constituted a vitalist expression of ‘still life in motion’, which was informed by the influence of Bergsonian philosophy and the currency of ‘rhythm’ in her circle of artists. The second section of the chapter investigates sculptural stillness. It examines Fergusson’s understudied sculptural practice and Morris’s role as a model who sought to revaluate the gender politics of stasis and movement. The final part of the chapter examines eurythmy as a form of ‘moving sculpture’ that complicates the relationship between dance and sculpture.
2
Jovanovic-Kruspel, Stefanie. "“Show Meets Science:” How Hagenbeck’s “Human Zoos” Inspired Ethnographic Science and Its Museum Presentation." In Ephemeral Spectacles, Exhibition Spaces and Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720908_ch08.
Full textAbstract:
This chapter attempts to explain the role of “human zoos” in the emergence of scientific ethnography and its display in museums by examining the case of the private portfolio of the first director of the Natural History Museum Vienna, Ferdinand von Hochstetter. This vast portfolio includes photographs of the first Völkerschauen (“peoples’ exhibitions”) by Carl Hagenbeck (1844–1913). Some of the pictures of the Greenland Inuit appear to have been the templates for at least two sculptures of “native types” that the Austrian sculptor Viktor Tilgner used for his Inuit caryatids in the exhibition hall. This discovery sheds new light on the complex relation between “human zoos” and early ethnographic science.
3
Couey, Anna. "Cultures in Cyberspace: Communications System Design as Social Sculpture." In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0021.
Full textAbstract:
Cultures in Cyberspace was a temporary communications network organized by the author in 1992 to connect five culturally diverse online communities in conversation: American Indian Telecommunications/Dakota BBS (US), Arts Wire (US), ArtsNet (Australia), the WELL (US), and Usenet (international). Produced at a time of impending transformational technological change, the project provided a platform for people to participate in co-creating cyberspace, bringing their cultural backgrounds, stories and histories to the table. Cultures in Cyberspace was based on the premise that social, political and cultural meanings are made possible or not depending on who is connected to whom and the forms of communication that are supported and prioritized. The chapter discusses the art practices and socio-political context that informed the project, as well as its concept, design, implementation, and content. It includes participants' contemporary reflections on questions raised by the project.
4
Sondel-Cedarmas, Joanna. "Multicultural Krakow: The Role of International Heritage in Creating the Narrative of the City." In European Cities in the Process of Constructing and Transmitting European Cultural Heritage, 87–109. Ksiegarnia Akademicka Publishing, 2022. http://dx.doi.org/10.12797/9788381386708.04.
Full textAbstract:
As the former capital of Poland and an important centre for the development of culture and science, for centuries Krakow has attracted foreigners who have helped to develop its economic might and cultural riches. Today, we can admire the traces of the material heritage of multiculturalism in terms of architecture, painting, and sculpture, both secular and religious. Equally important is their non-material contribution, which can be discerned in Krakow’s cuisine, language, legends and traditions. Examining Italian, Jewish and Austro-Hungarian influences, this text aims to present the role and use of this multicultural heritage in creating the contemporary image of the city. It is also an attempt to analyse the current strategy of the local authorities in the field of multicultural management and creating the image of an open and tolerant city.
5
Agazzi, Michela. "Il mercato antiquariale nella Venezia di Ruskin: l’arte medievale in Germania." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/012.
Full textAbstract:
Ruskin made his first trips to Venice when the city was under the Austrian domination, a long period which witnessed the dispersion of many Venetian medieval objects. These objects became of interest to a market which had to meet several requests, including not only those of private collectors, amateurs and foreign tourists looking for “souvenirs”, but also high-standard commissions aimed at creating museums and evocative places. This is the case with the massive purchase by Frederick William of Prussia, in the 1840s, of some ancient medieval sculptures in Italy which would become an important core in the medieval and Byzantine art sections of national museums under construction. Among these sculptures we can find an interesting group of Venetian masterpieces all bought from the same Venetian trader (Pajiaro). Frederick William’s brother as well, Charles, bought several Venetian works of art to replicate a Venetian cloister in the Glienicke Palace. Again: the Church of Peace in Potsdam is adorned with a mosaic bought in Murano, once part of the demolished Saint Cyprian Church. Fragments and entire works of art make up collections intended for the public and its education, or for the embellishment of neo-medieval or picturesque buildings, that was a pillage going in the opposite direction ofRuskin’s interests. His eye and his hand gave us the graphic and visual documentation of a heritage in context. His writings are characterized by the attention to each and every fragment as the witness of a manner of doing which is also history. Some traces of the exportation of medieval works of art can be found in Venetians’ reaction, Seguso’s first of all. In their writings and following actions we can appreciate a greater attention and responsibility for an heritage that will be perceived as an element of their identity. After the annexation to Italy, although this market and sales continued to exist, we witness not only a new dynamic which gives more importance to the restoration of buildings relevant on a national level (such as Piazza San Marco and the Doge’s Palace) or on a civil level (the Fondaco dei Tedeschi), but also the establishment of museums where the fragments emerged from the restoration and decontextualized statues can find their place. All of this has been accomplished in the name of a new spirit and of an attention of whom Ruskin has been the main promoter and protagonist.
6
Berghaus, Günter. "Fortunato Depero ‘S Theatrical Experiments Of The 1910s." In Italian Futurist Theatre 1909-1944, 291–326. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0012.
Full textAbstract:
Abstract Fortunato Depero (1892-1960) arrived in Rome in December 1913. He was 21, penniless, and had been attracted to the capital by the news circulating in his hometown about the Futurist renewal of Italian culture. He was born in Fondo in the Trentino and grew up in Rovereto, a small town then belonging to the Austro-Hungarian empire. His education had been mitteleuropean in outlook, and his first artistic attempts in the fields of literature and drawing followed the models of Jugendstil, Art Nouveau, and Symbolism. After failing the entrance exam at the Academy of Arts in Vienna, Depero took up an apprenticeship with a local sculptor and worked part-time for a decorator.1 However, carving tombstones and moulding gypsum cornices did not satisfy his artistic ambition, which had been spurred by the Vienna Secession painters and the angst-ridden illustrations of Alfred Kubin. His second public exhibition, held in February 1913 in a local stationery shop, presented a collection of ‘grotesque art ‘2 made up of gruesome portraits, deformed figures, and gargoyle-like caricatures. In June 1913 he published a slim volume, Spezzature, which contained examples of his own poetry and prose, accom-panied by rather bizarre illustrations. Alto Adige used the term ‘Futurist ‘3 to characterize the pieces that evoked big-city life (e.g. ‘Impressioneritmica ‘) or expressed Depero ‘s ‘forceful impetus towards the Infinite ‘, his ‘vast dreams of impossible greatness ‘, and his desire for a ‘life of violence ‘. Passamani believes that some of the verses were directly inspired by the anthology I poetifuturisti, published in 1912 by the Edizioni futuriste di ‘Poesia ‘. Scudiero has since discovered a correspondence between Marinetti and the Rovereto journalist and poet Sottochiesa and has suggested that the latter ‘s collection of poems, La nova voce (Rovereto: Tipografia Grandi, 1912), had had a stimulating influence on Depero.
Conference papers on the topic "Austria Sculpture"
1
Zhu, Jie. "Integrating Urban Sculptures into the Urban Planning System in China: Origin, Transition and Breakthrough, 1982-2003." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5051pspxz.
Full textAbstract:
The integration of urban sculptures into the urban planning system requires cross-disciplinary cooperation. Since 2003, many cities in China have mapped out all urban sculptures and formulated related regulations and overall urban plans. In fact, as early as 1982, the government established the Urban Sculpture Planning Group (USPG) to guide the development of urban sculptures. So why did it take so long to integrate urban sculptures into the urban planning system? Through analysing the changes in the USPG as well as related policies and regulations, this research shows that the development of urban sculpture planning in China has three critical moments: 1982 (origin), 1992 (transition) and 2003 (breakthrough). Also, the paper reveals that the changing ownership, responsibility and leadership of the USPG, the unclear definition of urban sculpture planning and many uncertain elements of urban planning are the primary factors slowing down the development of urban sculpture planning in China. The transition from urban sculpture to urban sculpture planning is not only a cross-disciplinary process but also a struggle between urban planning and sculpture. The paper argues that the essence of the transition is an antagonism between planning ideology under authoritarianism and the free expression of artistic thought. The research results benefit scholars in understanding the historical trends of urban sculpture practice in China. In addition, the history of urban sculpture planning reveals the problem of transition from small-scale objects to large-scale planning, which provides a prediction for the cross-field development of similar objects.
2
McCord, Glenn, Beryl Plimmer, and Burkhard Wuensche. "Surface manipulation using a paper sculpture metaphor." In the 2007 conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1324892.1324942.
Full text
3
Lu, Duanfang. "A Conceptual Framework for Architectural Historiography." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4005p6e3c.
Full textAbstract:
Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
4
Roland, Stephanie, and Quentin Stevens. "North Korean Aesthetics within a Colonial Urban Form: Monuments to Independence and Democracy in Windhoek, Namibia." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5038pxdax.
Full textAbstract:
This paper examines two high-profile commemorative spaces in Namibia’s national capital, Windhoek, designed and constructed by North Korean state-owned enterprise Mansudae Overseas Projects. These commemorative projects illustrate the complex and evolving intersections between public art, architecture and urban form in this post-colonial context. They show how sites designed around heritage and collective identity intersect with urban space’s physical development and everyday use. The projects also illustrate the intersecting histories of three aesthetic lineages: German, South African and North Korean. This paper will show how these commemorative spaces embody North Korean urban space ideas while also developing new national symbols, historical narratives and identities within Windhoek’s urban landscape as part of independent Namibia’s nation-building. The monument’s ‘Socialist Realist’ aesthetic signals a conscious departure from the colonial and apartheid eras by the now-independent Namibian government. This paper extends prior research focused on the symbolism of Mansudae’s monumental schemes by analysing these monuments’ design, placement, public reception and use within Windhoek as they relate to the city’s overall development since Namibia’s independence in 1990. By documenting the form, location and decision-making processes for the Mansudae-designed memorials in Windhoek and historical changes in their spatial and political context, the paper explores the interaction between North Korean political ideology and design approaches and Namibia’s democratic ambitions for city-making. The paper’s mapping analysis spatially compares the sculptural, architectural and urban design strategies of Mansudae’s additions to Windhoek’s City Crown (2010-14) to Pyongyang’s Mansu Hill Grand Monument (1972-2011), and Windhoek’s Heroes’ Acre (2002) to Mansudae’s earlier National Martyrs Cemetery outside Pyongyang (1975-85).
Reports on the topic "Austria Sculpture"
1
Reserve Bank of Australia - Head Office - New Building - Watercolour sketch of front entrance, featuring sculpture by Margel Hinder - c.1964. Reserve Bank of Australia, March 2023. http://dx.doi.org/10.47688/rba_archives_pa-000269.
Full text