Journal articles on the topic 'Baroque Portrait painting'

Heroes of portraits of Roman Petruk are open-world creative people – his teachers, parents, of the same age – young artists, actors in whose faces the reality of the Spirit is manifested, the movement of life. The article analyzes Petruk's portraits of his teacher, an outstanding Ukrainian artist and teacher, Nikolai Andreevich Storozhenko and teachers of NAOMA. The ritual value of a portrait is shown, which provides the connection of the worlds - temporary and eternal. The symbolic content of portraits, the value of the conditional background in character characteristics is studied. The relationship between content and form, features of composition, symbols and stylistics of portrait images of the Ukrainian artist in the context of world art is revealed. Methods of iconography and iconography are used. The main thing in the school of Storozhenko: the means of art combine in man the lost integrity of the body, soul and spirit. In the compositions of Petruk, secular and cult art was consonant. Following the teacher, Roman communicates the time: man and family, family and people, people and humanity. In Storozhenko’s portraits Petruk asserts the highest hierarchy of the artist-creator. The connection with portraits of avant-garde masters is shown. The relationship between the portrait and the icon in the portraits of Petruk is studied. The icon confirms the dominant spirit of peace, and emotionality is important in a psychological portrait. The work of the artist combines the legacy of the art of Ancient Rus and Byzantium, the European and Ukrainian Baroque, romanticism, and academicism with modern trends. Neosynthesticism – in such a way named his method Petruk. The gallery of portrait images created by Roman Petruk (more than 100 works of painting and graphics) is a testimony to the spiritual battle of the artist for the dominant of spirit over matter. The general scientific significance of the article is the introduction of a modern Ukrainian portrait into the context of world art.

The present study is meant to underline the importance of a famous work from the baroque period, Las Meninas, made by the painter Diego de Silva y Velásquez who has become a source of inspiration for future generations of artists. Numerous modern and contemporary artists have integrally or partially ”paraphrased” Velásquez’s composition by intercepting the portrait of revolutionary group for the time when it was created, extremely innovative regarding its compositional qualities and its hidden meanings which underlined the role and status of the artist in the context of a conservative society. Thus, the painting becomes the living proof of the way in which the artist manages to overcome the limitations of the social status of ordinary human beings, by portraying himself as a close friend of the royal family and by opening, through this type of representation, an important chapter in the history of portraiture.

Vladimir Lukich Borovikovsky, little Russian icon painter and St. Petersburg portrait painter, combined western European painting language and the Orthodox religion in his creativity. The sources of the painter's susceptibility to western European influence lie in his Ukrainian origin — the atmosphere of active interaction of Orthodox and Catholic cultures developed in Little Russia of XVIII. At XVIII—early XIX century icon and temple painting was approaching secular art and came under influence of European baroque and academism. Religious painting, that is the subject of the study, occupied an important place in the creativity of the painter. Master's icons and pictures demonstrate nontrivial iconographic, conceptual and dogmatic solutions. The sketch 'God the Father beholding dead Christ' from collection of the State Tretyakov Gallery is example of an original thought of the artist, who based it on the western European composition scheme, but gave it new meaning. The study theme is exploring features of interpretation by V. Borovikovsky of Catholic the Holy Trinity iconography. In order to identify specific motifs and ideas borrowed from Western European art and the Orthodox iconography of the Otechestvo (the Fatherland), which influenced the composition of the sketch, a comparative iconographic and stylistic analysis of works with similar iconography was carried out: with a fresco from the church in Marino (Rome) attributed to Guidoreni, and a painting by P.P. Rubens 'The Holy Trinity'. The iconographic analysis showed connection between of the sketch and wester European scheme 'God the Father contemplating the dead Christ', which goes back to iconographies 'God the Father holding a Crucifix' and Pieta, and to orthodox iconography Otechestvo. V. Borovikovsky rethinks traditional motifs, typical for the European painting (motifs of parental grief and reminder of sinfulness) and for the Orthodox icon painting (motifs of triumph over death). Stylistic analysis showed that the master formulates his own interpretation of the images of God the Father and God the Son, unifying both the Orthodox and the western European approaches. V. Borovikovsky borrows reception of relationship the Sabaoth and Christ as loving the Father and the Son, but doesn't borrow tragic reception of the plot, replacing it with the idea of the comprehensive divine love and the triumph over death. Thus, V. Borovikovsky combines icon symbolism and immediacy of realistic painting.

This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.

Abstract. There are many types of artistic representations (theatre, music, opera, ballet, literature, cinema, television, painting, sculpture, etc.) of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest (1630) by Tirso de Molina, Don Giovanni (1787) by Wolfgang Amadeus Mozart and Lorenzo Da Ponte, and Don Juan Tenorio (1844) by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra (1630) de Tirso de Molina, Don Giovanni (1787) de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio (1844) de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata.

The contribution brings forth new findings about the Baroque painter Joseph Digl († 1765) and his portraits. The painter’s opus, which has so far comprised seven portraits of the Counts of Attems and four altar paintings, has now been expanded by another six portraits revealing that his clientele also included the Counts of Szapáry. Based on the analysis of his links to his patrons and the newly discovered archival sources, it is possible to more precisely follow the life path of Joseph Digl and to confirm his presence in Ljutomer and Bad Radkersburg. Moreover, his comprehensive opus and the splendid ties that he maintained with his clientele rank him among important Baroque portrait painters in Slovenia.

Reverse paintings on glass from the collections of the Department of Older Czech History of the National Museum. Articles regarding the works of Gerhard Janssen, Daniel Preissler, Vincenz Janke and their contemporaries. In regard to the phenomenon and application of the verre églomisé technique, part I. This two-part paper presents a diverse collection of approximately 120 reverse paintings on glass produced in the Czech lands and Central Europe, from the beginning of the 18th century to the second half of the 19th century. The first part is devoted to their topics from the aspect of religion, allegory, landscape and genre and also discusses their iconography, authorship, templates, techniques (particularly verre églomisé) and provenience in the context of Czech and foreign collections. The most valuable of these items include newly identified Baroque works by Gerhard Janssen, the allegorical cycle by Daniel Preissler and works by the Augsburg School. The 19th century is dominated by the workshop of Vincenz Janke producing works falling between art and craftwork, and specific regional works, which are also represented by folk paintings. The second (prepared) part of the thesis will be separately devoted to portrait reverse paintings on glass.

The complicated political and cultural position of the Serbs who migrated to the Habsburg Monarchy in the early eighteenth century caused the rise of popularity of Russian rulers, who were recognized as protectors of the Orthodox against religious persecution. Political ties were accompanied by a strong Russification of Serbian culture, which was carried out through the mass procurement of Russian liturgical books and the arrival of many Russian teachers to Serbian schools. Ukrainian painters who came to the Metropolitanate of Karlovci brought new forms of baroque religious painting and introduced changes in the structure of the iconostasis. The cult of the Romanov dynasty among Orthodox Serbs in Hungary was amplified by their numerous portraits and engravings.

SUMMARY The Author separated the visualized time and the time when the painting was created. Both are rooted in the point of history which was important for the artist, in the time of creating the work of art as well as in the internal structure of the painting which is expressed through the theme and the presented figures. The researcher who was deeply influenced by history, browsed it deeply in order to find every “now”, adding it to the timeline of the artist’s life, or to the history he was a part of. The timeline, history, constitutes a basis of the knowledge about the artist’s workshop and it is the basis for the historical-comparative method. The Priest Professor Pasierb knew hermeneutics with the hermeneutic circle of Hans Gadamer and Paul Ricoeur. In his exploration of the temporal structure of his works of art he indicates to the reader the circular structure of the composition, which is typical for the scenes of the greatest masters of the Baroque, e.g. The Coronation of Mary, The Adoration of the Shepherds. The structure of time is particularly important in the portraits of Herman Han in the painting of 17th century. The analysis of the paintings of the master of Gdańsk Herman Han, especially of his painting The Coronation of the Virgin Mary in the main altar in Pelplin is an introduction for discovering the circular structures of time and space. It shows the Author’s concepts as close to the traditional Antique concepts of time: as the two opposites: Chronos – the inevitable time which consumes everything on its way and Kairos, the fugacious moment which can, however, be stopped by wisdom, beauty, the ability of predicting. The sensitivity to time, the Kairos, was expressed by the priest Professor Pasierb who was impressed by a Greek vase painted by Makron (Paris, Louvre) “long-haired boy with a hoop and with a dog, quickly running round an attic goblet, looking back where they are calling you, come back, you didn’t listen, today it is too late, twenty-five centuries passed. The painter Makron whom you passed by so quickly, managed to write kalos – Beautiful”. The basic method used for the analysis of time and space in the painting is the hermeneutic method of Paul Ricoeur and Hans Georg Gadamer.

The article studies the peculiarities of visual image symbolic type originating in the artistic practice of Ukrainian baroque. It is stated that ba- roque culture of 17-18 cent. was spreading across Ukrainian territories. Meanwhile Ukrainian art of that period was developing in close interaction with the art of Central Europe, Russia and Balkan countries. Realistic traditions of Western Europe were actively taking roots on Ukrainian territory thus forming the alternative for sacral orthodox art. Symbolic and allegoric type of visual art is mostly used for didactic and educational aims (I. Galyatovsky), narrative ones (I. Bondarevska) and to be more precise and clear it is accompanied by text explanations. Symbolic motives are also represented in virtually all works of H. Skovoroda distinguishing purely symbolic images and fantastic ones. He believes that symbolic imagery is a "picture of wisdom". Emblem-embedded and symbol-embedded books with symbolic and allegoric illustrating engravings become more common and widespread due to the typography development. Publication of "Symbola et Emblemata" and "Iphika Hieropolitica" promotes the usage of these murals, icon paintings, and didactic motives of secular arts. Symbolic and allegoric contents of ethno-national coloring fill the imagery of Ukrainian national icon paintings ("Cossack Mamay", etc.) and symbolically-allegoric compositions of icon paintings ("Jesus Christ the Husband- man", "The Eye of Providence", "Crucifixion with Vine", "Christ in the Winepress", etc.). Also allegoric motives are used in parsuna genre. The article states that, due to the rationalistic tendency influence of European culture, Ukrainian visual art of baroque period moves away from Byzantine canons with their symbolic conventionality thus turning more and more to realistic type of imagery (especially in portrait genre) and at the same time retaining symbolic and allegoric techniques which gained some ethno-national peculiarities.

AbstractIn 1906, on the occasion of the Rembrandt jubilee, Jozef Israels bore witness to his lifelong admiration of Rembrandt and his art, conjuring up a picture of the master working on the Night Watch. The vision he evoked was of a painter in the throes of creation, 'dipping his broadest brushes deep into the paint of his large palette' in order to give more power and relief to certain areas of the painting. The author contends that this description is not consistent with what really went on in 17th-century studios. Numerous arguments support the hypothesis that up into the 19th century palettes were not only much smaller than the 19th-century ones envisioned by Jozef Israels, but that they did not usually carry the complete range of available oil-based pigments. On thc contrary, painters adhered to the diehard tradition of loading their palettes with a limited number of tints suitable for painting a certain passage. Support for this proposition comes from various directions. The most important sources are paintings of studio scenes and self-portraits of painters with their palettes. Examination of the depicted palettes, an examination conducted on the actual paintings, has yielded plausible grounds for assuming that painters strove for verisimilitude in their renderings of palettes. This is borne out by the surprising consistency of the examined material. On certain 15 th and 16th-century representations of St. Luke painting the Madonna, his palette is seen to contain only a few shades of blue, with occasionally white and black. Other palettes on which a greater variety of colours are depicted are incomplete, representing the range needed for the parts of the painting which were the most important and most diflicult to paint - the human skin. Texts by De Mayerne and Beurs gave rise to this assumption. One of the chief duties of the apprentice was to prepare his master's palettes. According to a dialogue in the late 17th-century Volpato manuscript, the master's mere indication of which part of the painting he was going to work on sufficed for the apprentice to prepare the palette. This implies that a specific number of pigments were necessary for the depiction of a particular element of reality. The idea is supported by the countless recipes for the depiction of every part of the visible world which have been handed down to us, notably in Willem Beurs' book but in other sources too. The implication is that the method of a 17th-century artist differed fundamentally from that of artists of the second half of the 19th century and the 20th century. Whereas there are substantial grounds for assuming that painters of the latter period tended to work up an entire painting more or less evenly, painters of earlier centuries executed their work - over an underdrawing or an underpainting in sections, on a manner which is best compared with the 'giornate' in fresco painting. This kind of method does not necessarily mean that a painter did not proceed from a tonal conception of an entire painting. Indeed, Rembrandt's manner of underpainting shows that his aims did not differ all that much from, say, Jozef Israels. Technical and economic circumstances are more likely the reason why painters continued to work in sections in the Baroque. With regard to the economic aspect: grinding pigments was a lengthy operation and the resulting paint dried fast. Consequently, no more pigments were prepared than necessary, so as to avoid waste. With regard to the technical aspect: before the development of compatible tube paints, whose uniformity of substance and behaviour are guaranteed by all manner of means, painters had to take into account the fact that every pigment had its own characteristics and properties; some pigments were not amenable to mixing, others were transparent by nature, other opaque, etc. This is best illustrated by paintings of the 15th and 16th centuries. However, the tradition persisted into the 17th century and was also carried on by Rembrandt, as scientific research has shown. Neutron-activating radiographic examination reveals that certain pigments only occur in isolated areas (as far as these pigments were not used in the monochrome undcrpainting). Scrutiny of paint samples has moreover revealed that a layer of paint does not as a rule contain more than two to five, or in very exceptional cases six, pigments. Having been made aware of this procedure, however, we can also observe it in stylistic characteristics of the painting, and we realize that for the aforesaid reasons a late Rembrandt is more akin to a Raphael than to a Jozef Israels. In the 19th-century discussion of the relationship of style and technique, figures like Semper contended that this relationship was an extremely close one. Riegl, proceeding from the concept of 'Kunstwollen', regarded technique as far less important, more as the 'frictional coefficient' in the realization of a style; while not denying technique's effect on style, Riegl did not consider its influence to be as crucial as Semper did. Paul Taylor's recent research into the concept of 'Houditng' have demonstrated the extent to which aspects as tone and colour served to create an illusion of space in the 17th century, the chief priority being the painting as a tonal and colouristic entity. If we assume that the working principles of a 15th and a 17th-century painter did not fundamentally differ, it becomes clear that the pictorial 'management' involved in attuning tones and colours so convincingly as to produce the tonal unity so typical of Baroque painting, was quite an achievement. The technical and economic limitations mentioned above in connection with the palette may thus be seen as exemplifying Riegl's view of technique as a frictional coefficient in achieving pictorial ends.

The article, for the first time, exami­nes the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fra­gonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thema­tic and figu­rative composition of his works. Early histo­rical pain­tings of Fragonard, such as “Jeroboam Sacrifi­cing to Idols” (1752, School of Fine Arts, Paris), were crea­ted under the influence of Baroque thea­ter and decorative art and opera productions. Undoubtedly, Fragonard’s familiarity with theatre was promoted by his long stay in Italy, where the famous families of theater decorators Bibiena and Galliari was wor­king at that time. The article pays special attention to the process of planning and execution of the painting “The High Priest Coresus Sacrificing Himself to Save Callirhoe” (1765, Louvre), made not without regard to the opera “Callirhoe”, popular in Paris in the 18th century. It was theater that inspired the master to create his famous costume series of “Fantasy Portraits”, one of which depicted Marie-Madeleine Guimard (1743—1816), who not only had posed for the artist, but also ordered him to design her own mansion conceived as a temple of Terpsichore, the Muse of dance. In addition, Fragonard was the author of several panoramic genre paintings conveying the atmosphere of the then popular street theater. Works of this brilliant master exem­plify the relationship of arts that determined the nature of the cultural environment of that era and requires constant attention from modern researchers.

The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.

Koenraad Jonckheere is associate professor in Northern Renaissance and Baroque Art at Ghent University. The interview was recorded in August 2017 by assistant professor Stefaniia Demchuk (Chair of Art History, Taras Shevchenko National University of Kyiv). In the first part, Prof. Jonckheere talks about his career path of art historian, his teachers and the most influential books. He explains how the scope of his interests shifted from the Seventeenth-Eighteenth century art markets towards Iconoclasm, its impact and the theoretical debates on the Sixteenth century art. His Ph.D. research on art markets was summarized and published in 2008 under the title “The Auction of King William’s paintings”. It was innovative because the author developed a new approach to work on art markets using auction catalogue. In 2012 appeared his monograph on experiments in decorum in the Antwerp Art after Iconoclasm. The next year he curated the exhibition on the Sixteenth century Romanist artist Michiel Coxcie for Museum M (Leuven). Since 2014 Prof. Jonckheere has been working as an Editor-in-Chief at the Centrum Rubenianum (Antwerp). His own research on Rubens resulted in a monograph titled “Corpus Rubenianum Ludwig Burchard: portraits after existing prototypes” (2016). Now Prof. Jonckheere is developing a new methodological approach towards historical interpretation of artworks, which he called the “Thimanthes effect”. This approach uses the rhetorical concept of “quaestio” as a guiding principle for interpretation. Prof. Jonckheere discusses it in the second part of the interview. The third part focuses on the Reformation art and Iconoclasm. Prof. Jonckheere points out main directions in contemporary research on the Reformation art and highlights issues that are still to be solved. The interview concludes with advices to early-career art historians.

The study surveys the investigations carried out since the publication of the author’s Kracker monograph (Budapest, 2004, in German 2005), and rectifies certain data and the oeuvre catalogue in the book at several loci. New findings are mainly contributed by the Czech Republic: Václav Mílek and Tomáš Valeš explored archival data in Nová Riše and Znojmo, which add to the currently elaborated register entries studied in Vienna and to a lesser extent in Jászó (Jasov, SK). The latter shed light on the network of social relations of the known family of artists, and lead – by virtue of Johann Lucas Kracker’s sculptor father and sculptor stepfather – from Johann Lucas Hildebrandt via relatives employed in the court to the circle of the provincial chief architect Franz Anton Pilgram. The painter got married in Znojmo in the summer of 1749, where he settled, presumably helped by his painter brother-in-law many years his senior, Dominic Clausner; perhaps it was he who mediated him to the Premonstratensians. Based on archival data, Tomáš Valeš attributed two upper pictures of the Capuchine high altar to Franz Xaver Karl Palko from among so-far defined Znojmo works of Kracker, while Petr Arijčuk has discovered several ensembles of paintings convincingly attributed to Kracker in the Moravian region. These works display the strong influence of Paul Troger.The Pauline church of pilgrimage at Sasvár (Šaštin, SK) was renovated by favour of the Habsburgs; its fresco decoration was entrusted to Viennese court artists: the figure painter of the composition signed by Joseph Chamant was Joseph Ignaz Mildorfer. In the summer of 1757 Kracker delivered two (signed) altar pictures for the pair of chapels in the middle and, in my view – contradicting somewhat the Mildorfer monograph – decorated their lateral walls in grisaille and on the ceilings of the first pair from the sanctuary he painted frescoes of hovering angels. Portraits by Kracker are also known from this period: the imaginary portrait of King of Hungary Béla IV, preserved by the Fáy family since the suppression of the Premonstratensian monastery in Jászó, has recently been identified by researcher of the family genealogy Tünde Fáy. A fine bust of a Moravian noblewoman signed in 1751 has cropped up in Rome’s art trade.Kracker arrived in Eger from Jászó in the autumn of 1764, only for an occasion. His first job was to decorate the bishop’s private chapel in Eger: the fresco of the resurrected Christ perished in the 19th century. Its only visual trace is a water colour copy signed in 1816 and inscribed by Franz Hauptmann, which was rediscovered after long latency and put on display in 2017 by Petra Köves-Kárai. In 1767 Kracker was working for the Premonstratensians in Geras again from Znojmo: in that year he signed the fresco of the parish church of nearby Japons and decorated that votive chapel at Elsern (the frescoes of the latter perished during reconstructions). Sharing the opinion of Wilhelm Georg Rizzi, the book of 2004 disputed that the presbytery ceiling of Japons was Kracker’s work and thus it was included as the work of Paul Troger in the monograph of the Tirolean painter published in 2012. However, the sources published by Rizzi in 2011 are not convincing enough; the homogeneity of the decoration suggests the authorship of Kracker in all four bays, I think.The largest increment has been added to Kracker’s graphic oeuvre. Thanks to Tamás Szabó, we know increasingly more of the historical provenance of the Szeged collection of drawings, including the key role of a Szeged painter Ferenc Joó’s studies in Eger. He also directed attention to Joó’s friend from Tiszafüred, painter and graphic artist Menyhért Gábriel who also studied in Vienna and copied works in the archiepiscopal gallery in Eger, and to his estate in Debrecen. That latter contains 144 sheets. Amidst the engravings and 19th century drawings the baroque drawings clearly emerge as a separate group, most of which – 12 compositions – proved to be by Kracker. In addition to the first sketch of the Jászó high altar, the St Sophia praedella picture of the St Anne side altar in the Minorite church of Eger can be accurately identified; an Assumption picture is conditionally associated with the high altar picture of 1774 in the parish church of Besztercebánya (Banská Bystrica, SK). No models of the St Augustine and St John Nepumecene drawings are known, and another two sheets together with a sheet in Szeged lead to the altar pictures in the church of Olaszliszka, but they must have been painted after Kracker’s death, in his workshop. A coherent series copied the ceiling fresco of the refectory in the Praemonstratensian monastery of Geras, painted by Troger in 1738. The quality of draughts-manship is outstanding, coming close to the model.Together with the baroque drawings, some old copperplate engravings also got into the museums of Szeged and Debrecen. It cannot be excluded that they can also be traced to Eger and they might have been pieces of Kracker’s collection. No inventory survives of Kracker’s estate but when his pupil Johann Zirkler died, a great amount of drawings and prints were inventoried which he might have inherited from his master. For lack of concrete correspondences this provenance cannot be proven, but in another way – by defining the graphic antecedents to Kracker works – we have compiled a virtual collection of the painter’s models. The revised catalogue of Johann Lucas Kracker’s drawings is appended to the study.

In this study, the scenes of everyday life in Jan Vermeer's works were investigated, the main lines of the Baroque period painting art, which was shaped and developed in the light of the events that took place in the sixteenth and seventeenth centuries, and the Baroque period Dutch painting art was examined. In the sixteenth and seventeenth centuries, the sectarian wars between Catholicism and Protestantism, events such as the Thirty Years' War, and the changes in the economic field have affected people's living conditions and perspectives, and because of this situation, the approach to art has changed. It has been seen that the events experienced by the societies and the changes in their lives are also seen in the artistic field, the level of prosperity developed in the Dutch society, the effect of religious events have brought about changes in the subjects treated in the paintings, and they are divided into genres such as portrait, still life and genre. It showed itself in the works of Frans Hals, where portraiture had a very important place in Dutch painting, and effective examples of the realistic approach were given in still life paintings in the period when non-religious subjects were increasingly taking place. As a master of the genre of genre painting, Jan Vermeer, reflecting the traces of daily life with the place descriptions he frequently included in his paintings, was ahead of his contemporary painters in terms of both composition and use of color.

Kazimierz and Ewa (of Uwoyni) Burba, the wojskis (officials attending to the needs of soldiers’ families during wars) of Šiauliai and collators of the Church of St Peter and St Paul in Apytalaukis, donated the painting “The Sacred Heart of Jesus” to the high altar of the church in 1817. From 1755, when a fraternity of the Sacred Heart of Jesus was established, this altar had been decorated with an earlier painting of the same name. The painting donated by the Burba decorated the first tier of a new high altar erected after 1817 and the existing high altar that was built before 1920s (?). It is believed that due to its poor condition, the old painting was replaced with a copy during repairs in 1964, and it is this copy that is on the altar to date. In 2019, the painting was restored as it had lost many fragments of the paint layer, especially at the bottom. The prototype of this painting is the painting “The Sacred Heart of Jesus and the Eucharist” by Pietro Tedeschi (the Church of the Blessed Virgin Mary of Mount Carmel, Imola, 1780). It is believed that the painter used an engraving of this image, presumably by Lorenzo Capponi. The painting in the church in Apytalaukis is narrower and therefore the baroque composition created by Pietro Tedeschi is somewhat reduced and adjusted. In addition, the drawing, rhythm, and colours of the painting of 1817 are characteristic of the features of the classicist style and paintings of the Vilnius School of Art. Due to the analogies of stylistics and the wellknown fact of Kazimierz Burba’s acquaintance with the painter Jan Rustem, the painting is hypothetically attributed to this artist. The face of Jesus in the painting in Apytalaukis can be compared to Burba’s portrait by Jan Rustem (unfortunately, only a copy has survived). We propose the title “The Eucharistic Sacred Heart of Jesus” as it defines the iconography of the painting more precisely.

Explorations of the artist in the biopic genre are often formulaic in approach. The biographical narrative, modelled on the literary monograph, celebrates a public figure who overcomes challenges to rise to the top of their field. These films traditionally present the artist’s life and work as intrinsically involved with each other so that the artwork can only be explained through contextualising biographical knowledge. Derek Jarman’s Caravaggio (1986), in the vein of his highly personal, experimental filmmaking, is not a biopic in this traditional sense. Taking advantage of what little is known about Michelangelo Merisi da Caravaggio, the Italian painter widely recognised as the first great artist of the Baroque period and a master of chiaroscuro, Jarman constructs a heavily fictional ‘biographical’ narrative. This narrative is built upon historical speculation, personal identification, and most significantly, his subjective interpretation and visualisation of the paintings themselves. A series of tableaux vivants, delicately postured, almost still, recreations of the paintings, provide the narrative impetus in Caravaggio. Many of these are situated as poses in preparation for Caravaggio's painting. These recreations are removed from their historical context, disregarding the artworks’ chronology and misplacing characters and events to construct a part-Jarman/part-Caravaggio profile – fictionalising both art and biography. This paper explores Jarman’s intricate appropriation of the art and biography of the artist in Caravaggio, and how this is implemented, and complicated, to serve his own narrative agenda. Developing André Bazin’s discussion about the adoption of one medium into another in ‘Painting and Cinema,’ I analyse the tableaux representing The Martyrdom of Saint Matthew (1599-1600), The Entombment of Christ (1602-03), and Death of the Virgin (1606). This analysis takes place on three levels: firstly, art-history ‘fidelity;’ secondly, the perversion of the self-portrait; and finally, with direct reference to Bazin’s essay, the editing of the art-image.

Saint Catherine of Alexandria, considered one of the early Christian martyrs, is the most illustrated “holy virgin” figure in Christianity after the Virgin Mary. The Golden Legend book, compiled in the thirteenth century, plays an important role in the spreading of legends about the saint. Catherine, whose legend has expanded since the Middle Ages and has been cultized with changing stories; has been the subject of art for centuries with the stories about her nobility, philosophical knowledge, eloquence, courage, intelligence, striking beauty and determined belief. The popularity of Catherine, started towards the end of the Middle Ages, continues also throughout the Baroque period after the Renaissance and Mannerist periods with the support of the Catholic Church. There are numerous portraits of Catherine; her mystical marriage to Jesus, her conflict with philosophers, her refusal to worship pagan idols, and her martyrdom, as well as her numerous illustrations with other sacred considered figures. In this study, it is aimed to investigate and iconographically examine the oil paintings of St. Catherine of Alexandria on canvas, found at the museums and galleries, which were made in the Baroque period. These paintings, based on stories that have been expanded and / or changed, adorned both church altars and walls of aristocrats for many years, despite the dubious historical personality of the cultized saint.

Abstract This article focuses on the Book of Miracles (Morze łaski Bozey Maria Panna przy obraźie swym cudownym w kościele mińskim Panien Zakonnych S. Franciszka) printed at the Vilnius Jesuit printing house in 1672 on the initiative of the mother superior of the Bernardine nunnery in Minsk, Franciszka Judycka. The book depicts miracles which occurred after prayers were said in the presence of the painting of the Blessed Virgin Mary and the Child of the Bernardines of Minsk. It portrays the illnesses and everyday life of the sixteen nuns. The book was dedicated to the castellan of Minsk and the elder of Josvainiai, Aleksander Judycki and highlighted the merits of Judycki who offered shelter for the Minsk Bernardines in his Josvainiai manor in Samogitia during the war with Russia in 1654–1667. The article shows the beliefs of society in the Grand Duchy of Lithuania during the Baroque epoque.