To see the other types of publications on this topic, follow the link: Bohemian Painting of the 15th Century.
Journal articles on the topic 'Bohemian Painting of the 15th Century'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Bohemian Painting of the 15th Century.'
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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Bianucci, Raffaella, Antonio Perciaccante, and Otto Appenzeller. "Painting neurofibromatosis type 1 in the 15th century." Lancet Neurology 15, no. 11 (October 2016): 1123. http://dx.doi.org/10.1016/s1474-4422(16)30210-1.
Full text
2
Brauer, Barbara. "The Prague Hours and Bohemian Manuscript Painting of the Late 14th Century." Zeitschrift für Kunstgeschichte 52, no. 4 (1989): 499. http://dx.doi.org/10.2307/1482467.
Full text
3
Vaidya, Jayant S. "Locally advanced breast cancer in a 15th century painting in Milan." Breast 16, no. 1 (February 2007): 102–3. http://dx.doi.org/10.1016/j.breast.2006.09.002.
Full text
4
Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.
Full textAbstract:
Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
5
Antunes, Vanessa, Maria J.Oliveira, Helena Vargas, António Candeias, Ana Seruya, Luís Dias, Vítor Serrão, and João Coroado. "Characterization of Glue Sizing Layers in Portuguese Wood Paintings from the 15th and 16th Centuries by SEM Secondary Electron Images and μ-FTIR." Microscopy and Microanalysis 20, no. 1 (October 11, 2013): 66–71. http://dx.doi.org/10.1017/s1431927613013561.
Full textAbstract:
AbstractAccording to treatises on 15th and 16th century paintings, artists dedicated particular attention to the sizing layer—consisting mainly of animal glue applied onto the wood support before further application of the ground layer. The stability of a painting mainly depends on the presence of a very cohesive sizing layer. However, the study of these layers has not received special attention from researchers. In this article we present a methodology for characterization of the sizing layer both chemically, by IR spectroscopy (Fourier transform infrared spectroscopy), and morphologically, by scanning electron microscopy (SEM). Secondary electron images obtained by SEM allow precise characterization of such layers. Painting reconstructions were used as references in development of the method to study the sizing layer in real painting samples. Presented herein are examples of this study on 15th and 16th century Portuguese paintings, particularly on the Triptych of S. Simão, from the Aveiro Museum, and S. Pedro, belonging to the Mercy of Tavira.
6
Piven, Marina G. "The Image of Dido in 15th-Century Italian Painting: An Area of Interpretation." Actual Problems of Theory and History of Art 9 (2019): 606–18. http://dx.doi.org/10.18688/aa199-5-54.
Full text
7
Križnar, A., V. Muñoz, F. de la Paz, M. A. Respaldiza, and M. Vega. "Portable XRF study of pigments applied in Juan Hispalense’s 15th century panel painting." X-Ray Spectrometry 40, no. 2 (March 2011): 96–100. http://dx.doi.org/10.1002/xrs.1314.
Full text
8
Chojnacki, Stanislaw. "Notes on a Lesser-known Marian Iconography in 13th and 14th century Ethiopian Painting." Aethiopica 5 (May 8, 2013): 42–66. http://dx.doi.org/10.15460/aethiopica.5.1.445.
Full textAbstract:
In this article the early evolution of iconic iconography of the Virgin Mary in Ethiopia is discussed. One particular image is postulated to exist on a painted manbar at Lālibalā. The figure of the Child Mary depicted together with her mother, St. Anne, in the wall painting at the Gannata Māryām Church can also be considered iconic. In the late 14th century and the first decades of the 15th century, three specific groupings of depictions of the Virgin Mary, all clearly having iconic characteristics, have come to light: the Orant Virgin, the seated Hodegetria and the enthroned Virgin holding the Child in her lap. These three forms are characterised by the inclusion of the Archangels Michael and Gabriel, who are shown sheltering her with their outstretched wings. They are depicted holding crosses, while in a particular group of miniatures they extend their hands towards Mary in a gesture of supplication. This Orant form appears to be exceptional, and exists only in 14th century. The Hodegetria type evolved into numerous variants depending on the position of the Child, on Mary's left or right arm. The form of the Enthroned Virgin holding the Child in her lap, faded away in the early 15th century.
9
Park, Malcolm. "Brunelleschi's Discovery of Perspective's “Rule”." Leonardo 46, no. 3 (June 2013): 259–66. http://dx.doi.org/10.1162/leon_a_00566.
Full textAbstract:
Brunelleschi's lost panel painting of the Florence Baptistery, created in the early 15th century, is frequently cited as the first work to accurately use perspective. The system he used is unknown, and the only information about the painting mentions a demonstration by which the painting was viewed through a hole in the panel as a reflected image in a mirror. The author argues here that the image was created in a camera obscura using the panel and a mirror in the same relationship as used in the demonstration. The author also proposes that the process revealed perspective's basic “rule”: Vanishing points for parallel, horizontal lines exist at the eye level.
10
Lopukhova, Marina A. "CLASSICISM AS ARCHAISM: THE MAZZIERE BROTHERS AND FLORENTINE PAINTING OF THE LATE 15TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2019): 231–45. http://dx.doi.org/10.28995/2686-7249-2019-1-231-245.
Full text
11
Prijatelj Pavičić, Ivana. "Prilog poznavanju slikarskih kontakata između Dubrovačke Republike, Mletačke Albanije i južne Italije početkom 16. stoljeća s posebnim osvrtom na „slučaj“ slikara Michelea Greca iz Valone." Ars Adriatica 7, no. 1 (December 19, 2017): 167. http://dx.doi.org/10.15291/ars.1387.
Full textAbstract:
This article focuses on the painting style in Dalmatia and southern Adriatic during the 15th and the first decades of the 16th century, which merged Byzantine stylization, morphology, and iconography with Renaissance style, typology, and iconography. This type of hybrid style is observable both in the art of Eastern Orthodox painters and in the Roman Catholic ones. Special emphasis is on painter Michele Greco from Valona, who was active in Molise during the early 16th century.
12
Mastrotheodoros, Georgios P., Marios Theodosis, Eleni Filippaki, and Konstantinos G. Beltsios. "By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon." Heritage 3, no. 4 (November 16, 2020): 1360–72. http://dx.doi.org/10.3390/heritage3040075.
Full textAbstract:
A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron microscope coupled with an energy dispersive analyzer (SEM-EDX), μ-Raman and X-ray diffraction (XRD). The data were evaluated in the light of the findings of recent analytical studies conducted on several genuine Angelos icons. Identified materials include gypsum, gold leaf, bole, natural ultramarine, lead white, charcoal, green earth, red lake, minium, cinnabar, and red and yellow ochres. The identified materials resemble those employed by Angelos, while the identification of ultramarine is of particular significance, as this extremely expensive and rather rare pigment was very often used by the particular painter. Moreover, multispectral imaging reveals notable painting technique similarities between the icon in consideration and known Angelos icons, while cross sections of corresponding samples exhibit almost identical structures. Overall, the present work considerably strengthens the suggestion that the St Theodoros icon in consideration was painted by Angelos and also widens our knowledge regarding the late Byzantine painting.
13
Ricci, Marco, Stefano Laureti, Hamed Malekmohammadi, Stefano Sfarra, Luca Lanteri, Claudia Colantonio, Giuseppe Calabrò, and Claudia Pelosi. "Surface and Interface Investigation of a 15th Century Wall Painting Using Multispectral Imaging and Pulse-Compression Infrared Thermography." Coatings 11, no. 5 (May 6, 2021): 546. http://dx.doi.org/10.3390/coatings11050546.
Full textAbstract:
Before starting the restoration of an artwork, good practice involves the evaluation of the item healthiness possibly carried out through non-invasive techniques. In the specific case of painting inspection, hyper- and multi- spectral techniques are commonly used to analyze the outer layers (varnish, pictorial, and drawing), while X-ray, tomography, and many others can be employed to investigate its inner structure. Although highly desirable, a single technique providing all the information about a painting is still not available. Thus, it is of great interest to define the analysis’ protocols that could optimally exploit the complementarities of a minimal set of techniques. To this aim, the present paper shows the combined use of the hypercolorimetric multispectral imaging and pulse-compression thermography on a 15th century wall painting attributed to the Italian artist Antonio del Massaro, also known as Pastura, representing the Madonna with the Child and the Saints Jerome and Francis. The capabilities and the complementarities of the two techniques, whose information can also be fused through post-processing, are illustrated in detail in this paper. In addition, a false-colour imaging approach is proposed to improve the readability and analysis of the thermography results.
14
Samkoff, Aneta. "From Central Asia to Anatolia: the transmission of the black-line technique and the development of pre-Ottoman tilework." Anatolian Studies 64 (2014): 199–215. http://dx.doi.org/10.1017/s006615461400009x.
Full textAbstract:
AbstractBlack line is a polychrome overglaze painting technique that was developed in Central Asia in the late 14th century. Black-line tilework is also found in 15th- and 16th-century Anatolia, yet it is unclear how the tradition emerged in this region. This paper investigates the appearance of the technique in Anatolia and situates it in the context of Timurid (1370–1501) tilework as well as the development of Anatolian traditions of the Rum Seljuk (1077–1307) and Beylik (1071–1453) periods. The analysis is conducted by tracing the history of two tiles from the collection of the Metropolitan Museum of Art and by stylistic, technological and contextual comparisons with Seljuk, Timurid and Ottoman examples. I suggest that the introduction of the black-line technique to Anatolia was concurrent with the introduction of yellow pigment in the 15th century. I also propose that the Metropolitan Museum tiles should be redated to the second half of the 15th century on the basis that they were produced in Anatolia by craftsmen trained in Transoxiana who were also familiar with local Rum Seljuk and Karamanid traditions. These artists introduced new eastern styles which, together with local traditions, created an exciting experimental period in Anatolian tilework production and contributed to the emergence of Ottoman tile art.
15
Septiyani, Rizki Endi, Annisa R. Isyanti, Septi D. N. Aini, Bagus W. Pratama, Rudi T. Laksono, and Imron Imron. "Jejak Raden Jaka Prabangkara pada Kerajaan Majapahit Abad ke-15 M dalam Babad Jaka Tingkir." SULUK: Jurnal Bahasa, Sastra, dan Budaya 1, no. 1 (February 26, 2020): 43–50. http://dx.doi.org/10.15642/suluk.2019.1.1.43-50.
Full textAbstract:
Raden Jaka Prabangkara was the son of Brawijaya V, the last king of the Majapahit Kingdom. He was the king's son of an ordinary woman or concubine. During the reign of his father, which was around the 15th century, Raden Jaka Prabangkara had the role as a village chief in Sungging area. Besides, he was also given the task to become a palace painter because of his expertise in painting. This study aims to describe the traces of Raden Jaka Prabangkara's life during the reign of Majapahit Kingdom in the 15th century and the lessons that can be learned from the stories in Babad Jaka Tingkir. This study uses qualitative research method based on the literature review in the book of Babad Jaka Tingkir: Babad Pajang written by Sastronaryatmo (2011) which has been translated into Indonesian. The results of this study are (1) The background story of the birth of Raden Jaka Prabangkara in Babad Jaka Tingkir, (2) The role of Raden Jaka Prabangkara in the 15th century during the reign of Majapahit Kingdom in Babad Jaka Tingkir, (3) The chronology of the seclusion of Raden Jaka Prabangkara to China in Babad Jaka Tingkir, (4) The wisdom that can be learned from Raden Jaka Prabangkara's life. Overall, it can be seen that there are traces of Raden Jaka Prabangkara's life journey during the reign of Majapahit kingdom in 15th century based on the book of Babad Jaka Tingkir.
16
Popovska-Korobar, Viktorija. "Wall paintings from the late 15th century in the Monastery church of St. Paraskeve - Brajcino." Zbornik radova Vizantoloskog instituta, no. 44 (2007): 549–65. http://dx.doi.org/10.2298/zrvi0744549p.
Full textAbstract:
The Monastery of St. Paraskevy is located above the village Brajcino, on the east shore of Lake Prespa in the Republic of Macedonia. In accordance with the incomplete donor?s inscription this one aisle church with a pitched roof was built and decorated at the same time. Reparations came around 1800, when rebuilding was done on the longitudinal walls and the narthex (without fresco decoration). The fresco paintings from the 15th century are preserved on the west facade, and on the east and west wall of the naos. The decorative program in the interior was common for the small type monastery churches without narthex. From the old edifice, on the corner of the outside southwest wall visible are remains of figures, a monk and a man in laymen?s attire facing eastward. The iconographic program of the west facade is interesting for the scenes which encompass the patrons niche: a reduced Last Judgment (Royal Deesis, Hell and Paradise, where the monk Pahomios above the gate is depicted in prayer) and the equestrian figures of St. George and St. Mena. A parallel for the rare iconography of St. Mena with the tamed beasts is found in an unpublished icon, which most probably was painted in the last quarter of the 15th century, and is kept presently on the iconostasis of the church of Panagia tou Apostolaki in Kastoria. In accordance with all the considered characteristics by means of comparative analysis, we assume that the anonymous master could be an individual who belonged to the painting workshops which are credited for painting the church of St. Nicholas of the nun Eupraxia in Kastoria. We suppose the painter worked in Brajcino soon after the year 1486 and before 1493, when the decoration of the church in Kremikovci was completed, in which he most likely took part as a member of another large workshop. Regarding the question about the origins of the style of the 'master from the 1480?s', the paper articulates an opinion that they should be traced not only in the long painting traditions of Kastoria and Ohrid, but also in the collaboration of the masters and the spread of their works in these two important centers of the Ohrid Archbishopric.
17
Shamardina, N. V. "GALICIAN-RUSSIAN PRAISE OF THE VIRGIN ICONS OF THE 15th – 16th CENTURIES: GENESIS AND METAMORPHOSIS." Rusin, no. 60 (2020): 22–38. http://dx.doi.org/10.17223/18572685/60/3.
Full textAbstract:
The Galician-Russian icons of Praise of the Virgin are interesting both due to their origin from the hymns of akathist worship, the circumstances of their appearance in the Galician-Russian lands (probably related to the Western Russian metropolitan Gregory Tsamblak), and their unprecedented abundance. This type includes the outstanding works of the 15th century belonging to the Przemysl School, the main icon-painting centre in Poland. In the 16th century small trading towns, primarily Sambir, housed icon-painters who created icons in the democratic version of the national icon-painting style, associated with the artistic achievements of the neighboring coreligious Moldova. The Lviv Renaissance affected all aspects of the spiritual life of Galician Rusins around 1600 during the events around the Brest Union (1596). A final episode of the twocentury history of Praise of the Virgin in its Galician version is presented in Fyodor Senkovich’s icon from the Ripnev village near Lviv, dated 1599. The Praise of the Virgin icons of the 15h – 16th centuries demonstrate the iconographic type transformation caused by the changes in the mentality of the Orthodox population in the east of the Polish Catholic state, indicating both involvement in the Balkan-Slavic church and cultural impulses, as well as general patterns of sacred art development.
18
Trentelman, Karen, and Nancy Turner. "Investigation of the painting materials and techniques of the late-15th century manuscript illuminator Jean Bourdichon." Journal of Raman Spectroscopy 40, no. 5 (May 2009): 577–84. http://dx.doi.org/10.1002/jrs.2186.
Full text
19
Pintarić, Mario, and Damir Tulić. "Prilog poznavanju kasnogotičke skulpture u Rijeci: prijedlog za Leonarda Thannera i nepoznata grupa Oplakivanje Krista." Ars Adriatica 8, no. 1 (December 28, 2018): 61–80. http://dx.doi.org/10.15291/ars.2755.
Full textAbstract:
The article discusses a late Gothic statue of Pietà in the permanent collection of the Maritime and Historical Museum of the Croatian Littoral in Rijeka. It is a wooden statue with poorly preserved traces of polychrome painting and gilding, discovered in 1920 in the attic of the parish church of Mary’s Assumption in Rijeka. Vanda Ekl dated it to the end of the third quarter of the 15th century without specifying its circle of origin or its history. Based on a stylistic analysis, as well as a series of typological and formal analogies, the Pietà of Rijeka can now be brought into connection with the woodcarver Leonardo Thannner from Bavarian Landshut, active in Friuli during the second half of the 15th century. A crucial comparative example can be found in Thanner’s polychromatic wooden group of The Lamentation of Christ from the church of Santa Maria della Fratta in San Daniele del Friuli (1488). Rijeka Lamentation, a hitherto unknown and here for the first time published statue, can be linked with a workshop or a circle of the Friulian sculptor Giovanni Martini and approximately dated to the first quarter of the 16th century.
20
Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.
Full textAbstract:
The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.
21
Vazhkaya, M. A. "Отражение личностей старообрядца М.И. Чуванова и художника Т.А. Мавриной в их коллекциях иконописи." Iskusstvo Evrazii [The Art of Eurasia], no. 2(21) (June 30, 2021): 64–75. http://dx.doi.org/10.46748/arteuras.2021.02.006.
Full textAbstract:
There are two collections of icons in the Department of Private Collections — the M.I. Chuvanov collection and the T.A. Mavrina collection. Despite the fact that the time of their formation is the 20th century and the subject of the collections is icon, the collections differ significantly: the personalities of the collectors — the old believer and the artist — impacted their collections in full. Mikhail I. Chuvanov was a chairman of the Preobrazhensky congregation of Old Believers, a bibliophile and a palaeographer. The collection includes icons from the middle of the 15th century to the early 20th century. The icons correspond to the canons of the Old Russian icon painting. Tatyana A. Mavrina was a painter, a graphic artist, an illustrator. The collection includes the icons of the 15th – 17th century — the icons of “northern writing”, and the icons of Novgorod and Moscow icon painting. The research includes wonderful samples of icons, which characterize the personalities of the collectors most brightly: M.I. Chuvanov found and saved prayer images for descendants of the icons; T.A. Mavrina with her love to colour collected icons-pictures, icons-tales. В собрании отдела личных коллекций Государственного музея изобразительных искусств им. А.С. Пушкина хранятся две коллекции иконописи: старообрядца М.И. Чуванова и художника Т.А. Мавриной. Несмотря на то, что время их формирования — XX век, а предметом собирания является икона, обе коллекции разные по характеру. Личности старообрядца и художника в полной мере проявились в их собраниях. Михаил Иванович Чуванов — председатель Преображенской старообрядческой общины, библиофил, палеограф. В коллекции представлены иконы середины XV – начала XX века. Татьяна Алексеевна Маврина — живописец, график, иллюстратор. В коллекции собраны иконы XV–XVII веков. В исследовании представлены образцы иконописи, наиболее ярко характеризующие личность собирателя: М.И. Чуванов нашел и сохранил для потомков иконы — молитвенные образы; Т.А. Маврина с ее любовью к цвету собрала иконы — картины, рассказы.
22
Nevile, Jennifer. "'Certain Sweet Movements' the Development of the Concept of Grace in 15th-Century Italian Dance and Painting." Dance Research: The Journal of the Society for Dance Research 9, no. 1 (1991): 3. http://dx.doi.org/10.2307/1290643.
Full text
23
Gaeta, Raffaele, Fabrizio Bruschi, and Valentina Giuffra. "The painting of St. Roch in the picture gallery of Bari (15th century): An ancient representation of dracunculiasis?" Journal of Infection 74, no. 5 (May 2017): 519–21. http://dx.doi.org/10.1016/j.jinf.2017.02.002.
Full text
24
Zivkovic, Milos. "Saint Sisoes above the grave of Alexander the Great. A monastic theme of post-Byzantine art and its examples from the 17th century Serbian painting." Zbornik radova Vizantoloskog instituta, no. 50-2 (2013): 913–40. http://dx.doi.org/10.2298/zrvi1350913z.
Full textAbstract:
The depiction of St. Sisoes above the grave of Alexander the Great was formulated at the end of the 15th century. The image in question is a visual interpretation of a short song (?I see you, grave?), and it was often painted in the churches throughout the Balkans during the next two centuries. With references to the textual basis of this iconographic theme, as well as its meaning, the article is devoted to insufficiently studied Serbian examples of frescoes of St. Sisoes above Alexander?s tomb, preserved on the walls of several churches painted in the first half of the 17th century.
25
Zalaffi, Maria Sole, Ines Agostinelli, Najmeh Karimian, and Paolo Ugo. "Ag-Nanostars for the Sensitive SERS Detection of Dyes in Artistic Cross-Sections—Madonna della Misericordia of the National Gallery of Parma: A Case Study." Heritage 3, no. 4 (November 12, 2020): 1344–59. http://dx.doi.org/10.3390/heritage3040074.
Full textAbstract:
In historical paintings, the detection of low amounts of pigments and dyes by Raman spectroscopy can sometimes be challenging, in particular for fluorescent dyes. This issue can be overcome by using SERS (surface-enhanced Raman spectroscopy) which takes advantage of the properties of nanostructured metal surfaces to quench fluorescence and enhance Raman signals. In this work, silver nanostars (AgNSs) are applied for the first time to real art samples, in particular to painting cross-sections, exploiting their effective SERS properties for pigment identification. The case study is the Madonna della Misericordia of the National Gallery of Parma (Italy). Cross-sections were analyzed at first by optical microscopy, SEM-EDS, and micro-Raman spectroscopy. Unfortunately, in some cross-sections, the application of conventional Raman spectroscopy was hindered by an intense background fluorescence. Therefore, AgNSs were deposited and used as SERS-active agent. The experimentation was successful, allowing us to identify a modern dye, namely copper phthalocyanine. This result, together with the detection of other modern pigments (titanium white) and expert visual examination, allowed to reconstruct the painting history, postdating its realization from the 15th century (according to the Gallery inventory) to 19th century with a heavy role of recent (middle 20th century) restoration interventions.
26
Darwish, Mahmoud Ahmed. "Two Armenian Bibles with Arabic Influences of miniature painting (Gregor Tatevatsi 1346-1410)." International Journal for Innovation Education and Research 4, no. 8 (August 31, 2016): 72–100. http://dx.doi.org/10.31686/ijier.vol4.iss8.578.
Full textAbstract:
About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art had been conducted a unique historical panorama of the art of illumination, embracing more than thirteen centuries has been given.The heritage of a number of miniature schools and their outstanding representatives has been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although, most of them illuminated, many have not yet been published. Among the best examples of medieval Armenian illumination are those of the following two manuscripts, where the researcher published (28 miniatures) from the Gospel of folios paper in Matenadaran of Mashtots, for the first time: 13th, dated (1297) and (1378), the miniatures were executed by Grigor Tatevatsi and his pupil in (1378), and15th, dated in the end of 14th century and beginning of 15th century, the scribe is Grigor Tatevatsi and the anonymous painter of Syuniq. The research deals two Armenian bibles with Arab Influences by Grigor Tatevatsi (1346–1410), it begins with an introduction for Armenia with a focus on Syuniq which produced the two manuscripts, and includes three sections:1st. Study of Armenian miniatures with a focus on Grigor Tatevatsi school, where the proportion of miniature paintings, his pupil or anonymous painter of Syuniq.2nd. Analytical study.3ed. The influences of the Arabic miniature painting.
27
Gil, Milene, Maria Luisa Carvalho, Stephane Longelin, Isabel Ribeiro, Sara Valadas, José Mirão, and António Estevão Candeias. "Blue Pigment Colors from Wall Painting Churches in Danger (Portugal 15th to 18th Century): Identification, Diagnosis, and Color Evaluation." Applied Spectroscopy 65, no. 7 (July 1, 2011): 782–89. http://dx.doi.org/10.1366/10-06172.
Full text
28
Milejski, Paweł. "Coins from the Streets of Racibórz." Notae Numismaticae - TOM XV, no. 15 (May 17, 2021): 235–74. http://dx.doi.org/10.52800/ajst.1.a.13.
Full textAbstract:
The aim of the article is to present numismatic collections from the Museum in Racibórz which have been found at municipal sites during supervision and regular archaeological excavations. This will allow us to observe which coins have come to Racibórz (germ. Ratibor) and (Upper) Silesia over the centuries. The analysed coins will be compared with finds obtained during excavations in other cities in Upper Silesia – Gliwice (germ. Gleiwitz) (the market square and St. George’s Church in Czechowice (germ. Schechowitz)) and Bytom (germ. Beuthen) (St. Margaret’s Hill) – and in the main centre in Lower Silesia, Wrocław (germ. Breslau) (Nowy Targ Square and St. Elizabeth’s Church). The study includes 76 coins acquired in the years 1979–2015 on 12 sites located within the borders of the city of Racibórz. This number includes the hoard of 17 Prague groschen of Wenceslas II, 56 single finds and three coin-like objects. In addition, two metal objects were included in the study which were discovered near the castle in the district of Racibórz – Ostróg. Both objects are difficult to identify, initially defined as a ring eye and a weight (monetary or merchant). The entire collection is dominated by Bohemian coins, including Prague groschen, parvus and white pennies. Silesian coins are the second largest group – three wide bracteates (unfortunately without provenance), a very rare Opava heller of Přemek I (1377–1433) and two groeschels of Ferdinand II (1617–1637). Moreover, two rare pennies of Sigismund III (1587–1632) struck in Poznań mint were found, which usually give way to pennies and ternarius struck in Łobżenica mint, which were not recorded in the collection from Racibórz. Considering all the coins in chronological terms, the dominant coins are late medieval ones – from the second half of the 13th century to the first half of the 15th century. The second concentration of Racibórz finds is from the 18th–20th century. A comparative analysis of coins discovered in Racibórz, Gliwice and Bytom and the hoard of Prague groschen from Błażejowice (germ. Blaschowitz) confirms the hypothesis of Borys Paszkiewicz that it was through Upper Silesia that Bohemian coins reached the territory of present day Poland. As a result, there is a significant number of small Bohemian coins in this area, with a smaller number to be found deeper within Poland.
29
Helytovych, Marija. "Ukrainian icons of the late 15th — early 20th centuries from the collection «Studion» in the collection of the Andrey Sheptytskyi National Museum in Lviv." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 12(28) (2020): 280–98. http://dx.doi.org/10.37222/2524-0315-2020-12(28)-11.
Full textAbstract:
The article deals with a number of icons belonging to the «Studion» Museum at the Monastery of Studyts fathers in Lviv, founded in 1909 on the initiative of Metropolitan Andrey Sheptytskyi and transferred to the National Museum in Lviv in 1939 and 1945. The most important monuments of this collection, which are essential for the study of various aspects of Ukrainian icons, in particular, iconography, creative heritage of masters, painting centers, formation and peculiarities of the iconostasis, etc. are analyzed. It emphasizes the importance of individual works and their complexes for the reproduction of artistic processes that took place in the sacral painting of the end of the XVI — the first half of the XVI centuries. In particular, it concerns the theme of the image of the Virgin in the Ukrainian icon. It is also about the activities of individual painters and painting centers, among which is the creativity of an anonymous painter with a pronounced creative style of writing, which worked for the church of St. Paraskeva in the village Novycia in Lemkivshchyna. For the first time, it is pointed the necessity to study and systematize the iconic heritage of the church in Novycia, from which the monuments from different periods are originated; most of them belonged to «Studion». The question is posed of a comprehensive study of the iconography of Lemkivshchyna, for which the works of this collection will be important. It is emphasized the importance of another painting direction related to the painting center, which was active in the XVII century in the city of Sudova Vyshnia, from which the complex of icons from the iconostasis of the Church of Archangel Michael in the village Dobra is still little studied. The latest research on the attribution of a number of works is presented. The significance of the collection for more comprehensive coverage of the features of the Ukrainian icon at different stages of its history is revealed. A number of new monuments are being introduced. Keywords: icon, master, «Studion», tradition, research.
30
Brajovic, Sasa. "Bellini's Mother of God with infant Christ in Dobrota." Zograf, no. 31 (2006): 215–18. http://dx.doi.org/10.2298/zog0731215b.
Full textAbstract:
In the parochial church of Saint Matthew in Dobrota, there is a preserved painting by Giovanni Bellini and his workshop, The Mother of God with the Infant Christ. In the iconographic sense it is customary: a bust of Mary with the little Christ in her arms, a parapet in the foreground, green drapery and a landscape in the background. The motif of the parapet indicates the separation of the holy figures from the earthly world. However, this border is not strong: the emotional closeness between the Mother and the Child is transferred into the everyday world of mortals. The parapet is also an association with the Holy Altar. It expresses the Eucharistie, sacramental role of Christ and the Mother of God. The idea about the Mother as the tabernacle of God is underscored by the motif of the curtain. The landscape in the background makes the painting especially valuable. The softness and transparency that characterize it point to a possibility that Bellini created this painting at the end of the 15th or the beginning of the 16th century, at the time when he was under the influence of the Arcadian circle from Asolo. The landscape on the painting is passage moralize, because all the elements - the tower, the garden, the spring, goats, swans - are clearly symbols of the Mother of God. This altar painting, purchased by an unknown native of the Boka Kotorska Bay, and brought back to his birthplace, proves that the spirit of the renaissance also touched the southeastern coast of the Adriatic.
31
Van De Wetering, Ernst. "De paletten van Rembrandt en Jozef Israëls, een onderzoek naar de relatie tussen stijl en schildertechniek." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 137–60. http://dx.doi.org/10.1163/187501793x00162.
Full textAbstract:
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.
32
Alexander, Ingrid C. "Processes and Performance in Renaissance Painting." MRS Bulletin 17, no. 1 (January 1992): 28–31. http://dx.doi.org/10.1557/s0883769400043219.
Full textAbstract:
During the greater part of the 15th century, the Burgundian princes created a stable, unified center for industry and the flourishing of the arts in the Netherlands. Philip the Good became one of the most powerful and wealthy princes of the House of Burgundy in the period. Under his rule, the Netherlands became an important center for commerce. The port of Bruges, and later Antwerp, offered easy access to the important trade routes. The German merchants of the Hansa towns of Bremen, Danzig, Lübeck, and Hamburg and ships from England and the Baltic regions brought wares to be bought and sold in Flemish towns. The routes along the Atlantic and Mediterranean provided direct lines of communication between Italian merchants from Venice, Genoa, Florence, and Bruges.The Netherlands soon became a center of a large part of the business activity in Europe and its prosperity grew. The concentration of trade, the presence of numerous banks, and the commission they charged contributed to the wealth of its bourgeois merchants and financiers. They soon became as rich and sometimes richer than the Burgundian princes. Thus they had the means to become important patrons of the arts so as to display their wealth. The acquisition of rare and exotic goods became an essential part of a society where exhibiting one's wealth was admired.Flemish artists' corporations were well organized, not unlike modern businesses. They were well-known locally and abroad and had significant influence on the art of the period. Works of art were created in workshops where a long apprenticeship afforded the artists guidance and expert training in their craft. High standards which contributed to the good reputation of the art of Flanders, were maintained by setting the quality of the materials and establishing the techniques used. The painters' guild controlled the production of paintings and took measures to control the supply of materials to keep down prices and to control competition. Also, contracts between artist and patron would sometimes stipulate the type of materials to be used.
33
Zagora, Jelena. "Historical Development of Coloured Grounds in Italian Painting from the 15th to the mid-18th Century – Present Insights and Open Questions." Portal 8 (December 28, 2017): 73–94. http://dx.doi.org/10.17018/portal.2017.8.
Full text
34
Ricciardi, Paola, Anna Mazzinghi, Stefano Legnaioli, Chiara Ruberto, and Lisa Castelli. "The Choir Books of San Giorgio Maggiore in Venice: Results of in Depth Non-Invasive Analyses." Heritage 2, no. 2 (June 14, 2019): 1684–701. http://dx.doi.org/10.3390/heritage2020103.
Full textAbstract:
This paper discusses a cross-disciplinary, international collaboration aimed at researching a series of 15th century choir books at the abbey of San Giorgio Maggiore on the homonymous island in Venice. Produced for the abbey itself, the books have never left the island during their 500-year history, thereby allowing a unique opportunity to analyse historic artefacts, which have undergone little modification over time. Prompted by ongoing cataloguing work on the manuscripts, a week-long analytical campaign using a combination of non-invasive analytical methods used in portable configuration allowed the comprehensive characterisation of ten volumes. The manuscripts’ palette and painting techniques were analysed using near-infrared imaging, reflectance spectroscopy in the UV-vis-NIR range, Raman spectroscopy, X-ray fluorescence mapping and digital microscopy. The paper will discuss the challenges linked to the fragility and the large dimensions of the volumes as well as the most interesting results of the investigation. These include the detection of unusual painting materials such as bismuth ink, as well as the discovery of a less homogeneous palette than originally expected, which prompted a partial revision of the attribution of the decoration in one of the volumes to a single artist.
35
Mogarichev, Yuriy, and Alena Ergina. "Reassessing the Periodization of Mural Paintings in the Cave Church of the Southern Mangup Monastery." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 6 (January 2020): 47–63. http://dx.doi.org/10.15688/jvolsu4.2019.6.4.
Full textAbstract:
Introduction. The Southern Monastery is located in the southern part of the Mangup plateau in a natural rock grotto. The cave church is in the eastern side of the grotto. It is decorated with mural paintings. The murals of the church are concentrated in the altar. Frescos are divided into the images on the apse, on the altar arch and on the vaults of the church. Methods. Authors give the periodization of frescos comparing iconography and stylistics. Analysis. The images on the apse are flat. The eaves of the altar arch are similar to the icon row. Saints on the arches of the church have their original compositional solution. The apse’s painting was formed earlier than other architectural divisions of the church interior. The fundamentally different organization of the tectonics of the pictorial surface of the altar arch eave and vaults suggests that different artists made these images at short intervals. Results. The church’s murals of the Southern Mangup Monastery were probably formed in three stages. Different artists, who were the representatives of various eastern Christian schools of sacred painting, made the murals. Due to the closed compositional scheme the painting system appears as an indissoluble whole, despite the definite duration of the murals’ formation in the church of the Southern Mangup Monastery. In general, the paintings of the church of the Southern Mangup Monastery date from the early – the third quarter of the 15th century. Probably this monastery is associated with the ruling dynasty of Theodoro.
36
E. Ogilvie, Robert. "A Few Examples of Electron Microanalysis of Art Objects at the Boston Museum of Fine Arts." Microscopy and Microanalysis 5, S2 (August 1999): 570–71. http://dx.doi.org/10.1017/s1431927600016172.
Full textAbstract:
The purpose of this paper is to present a few examples of art objects that have been analyzed with the electron microprobe over the past 40 years at the Boston Museum of Fine Arts. The results of many examinations have led to the fact that the object was a forgery. However, the results of most examinations have proved that the object has the necessary structure and chemistry to be authentic. It should be pointed out, that an object can be proved to be a forgery. But you cannot prove authenticity. The materials used for the object may not fit the time frame for the period, therefore a forgery, or the materials may fit the time period, the structure and style may fit the work of a particular artist or craftsman and still be a copy.In the early 1960’s a 15th century painting, a Portrait of a Lady, see FIG. 1, was brought to the laboratory at the Boston Museum of Fine Arts for examination.
37
Pacholski, Jan. "„Nasze śląskie Alpy”, a skały „jak ruiny Palmiry czy Persepolis” — albo różne optyki karkonoskich podróżopisarzy." Góry, Literatura, Kultura 13 (September 22, 2020): 343–55. http://dx.doi.org/10.19195/2084-4107.13.27.
Full textAbstract:
The present article focuses on eighteenth-century German-language descriptions of the Giant Mountains and Izera Mountains included in selected eighteenth-century accounts of trips to the high est mountains of Silesia and Bohemia by travellers from various German-speaking countries. The analysed fragments refer primarily to sites on the Silesian side of these mountain ranges, although the Bohemian part is mentioned in one case. Differing in terms of their countries of origin, the authors of these works — who included Silesians, a German from Bohemia as well as a man from Berlin and a man from Saxony — liked to refer in their accounts to well-known Swiss models, primarily to the poetic works of Albrecht von Haller and scholarly works of Johann Jakob Scheuchzer, comparing the Giant Mountains to the Alps and using in their descriptions of nature metaphors inspired by the famous Swiss authors, whose oeuvres were quite popular across the entire civilised Europe. The present article provides a detailed analysis of the descriptions of the various natural sites and phenomena, in which the authors use the vocabulary of the history of art and culture, comparing, for example, the view of valleys seen from a mountain top to miniature painting, a waterfall to a performance and music, and rock formations to architectural objects and ancient ruins.
38
Grieten, Stefaan. "Het Toren van Babel-schilderij in het Mauritshuis. Een illustratie van de relatie tussen de 15 de-eeuwse miniatuur- en schilderkunst in de Nederlanden." Oud Holland - Quarterly for Dutch Art History 108, no. 3 (1994): 109–19. http://dx.doi.org/10.1163/187501794x00422.
Full textAbstract:
AbstractIn the Mauritshuis at Thc Hague is the earliest extant painting on the theme of the Tower of Babel (fig. I). The panel's smal size (19.7 × 17 cm) and the min ute detail of the narrative scene suggest a relationship with the art of the miniaturc. This connection, which is demonstrable in other early representations of the theme (figs. 2-3), is confirmed by numerous motivic similarities with a number of miniatures (figs.4 6) in Les anciennes croniques et conquestes de Charlemaine, a manuscript which was illuminated by Jan de Tavernier between 1458 and c. 1465 and shortly afterwards showed up in the library of Philip, Duke of Burgundy. It is now in the Albert I Royal Library in Brussels. The anonymous painter of the panel was probably not in a position to base his work directly on the actual miniatures, but he may well have made use of sketches which served for the illumination of manuscripts in De Tavernier's studio. However, it cannot be ruled out that a Tower of Babel was painted in that studio. Neither the obvious relationship with De Tavernier's oeuvre nor corresponding motifs in paintings from the Bruges (fig. 8) and Haarlem (fig. 9) environments yield a logical hypothesis for an attribution of the panel in The Hague. The article does however draw attention, to the important but hitherto insufficiently examined relationship between 15th-century painting and the contemporary miniature (and other art techniques).
39
Capotorto, Salvatore, Maria Lepore, and Antonietta Varasano. "A Virtual Space Built on a Canvas Painting for an “Augmented” Experience to Catch the Artist’s Message." ISPRS International Journal of Geo-Information 10, no. 10 (September 25, 2021): 641. http://dx.doi.org/10.3390/ijgi10100641.
Full textAbstract:
“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.
40
Meister, Maureen. "In Pursuit of an American Image: A History of the Italian Renaissance for Harvard Architecture Students at the Turn of the Twentieth Century." Prospects 28 (October 2004): 185–202. http://dx.doi.org/10.1017/s0361233300001472.
Full textAbstract:
After a five-month sojourn in Rome, the author Henry James departed with “an acquired passion for the place.” The year was 1873, and he wrote eloquently of his ardor, expressing appreciation for the beauty in the “solemn vistas” of the Vatican, the “gorgeous” Gesù church, and the “wondrous” Villa Madama. Such were the impressions of a Bostonian who spent much of his adult life in Europe. By contrast, in June of 1885, the young Boston architect Herbert Langford Warren wrote to his brother about how he was “glad to be out of Italy.” He had just concluded a four-month tour there. He had also visited England and France, and he was convinced that the architecture and sculpture of those countries were superior to what he had seen in Italy, although he admired Italian Renaissance painting. When still in Rome, he told his brother how disagreeable he found the “Renaissance architecture in Italy contemporary with Michael Angelo and later under Palladio and Vignola,” preferring the work of English architects Inigo Jones and Wren. Warren appreciated some aspects of the Italian buildings of the 15th and early 16th centuries, but he considered the grandeur and opulence of later Renaissance architecture especially distasteful.
41
Aleksiayevych, H. V. "Czech borrowings in the Old Belarusian and Old Ukrainian written languages." Movoznavstvo 317, no. 2 (April 20, 2021): 36–54. http://dx.doi.org/10.33190/0027-2833-317-2021-2-003.
Full textAbstract:
The article assesses the role of the Old Belarusian and the Old Ukrainian languages in the development of Czech-Eastern Slavonic linguistic relations in the 14th–18th centuries. There were both direct and indirect ways of Czech language influence on the Old Belarusian and the Old Ukrainian written languages. The 15th century saw favourable conditions for military-political alliance between the Grand Duchy of Lithuania and Bohemia. The emergence and development of these relations was accompanied by diplomatic activity: for instance, Grand Dukes Vitovt and Svidryhailo had correspondence in Latin and Old Czech with the Czech Hussites. Contacts in the military-political, socio-religious and cultural-educational spheres contributed to the development of Czech-East Slavic language ties. Translations of the Czech written texts into Old Belarusian and Old Ukrainian («The Life of Alexei the Man of God», «The Story of Apollo of Tyre», «Lucidarius», «The Song of Songs», «The Tale of Toadal», «The Tale of the Prophetess Sibylline», «The Trojan Story»), use of the Czech legal texts in writing Galicia-Volyn letters in the 14th and early 15th centuries. The use of Czech legal texts in Galicia-Volyn monuments (Norman Statute of 1438–1439, Statutes of 1529, 1566, 1588, Lithuanian Metric Acts) contributed to the direct penetration of Bohemianisms into the Old Belarusian and Old Ukrainian writing. Although there were channels through which Czech linguistic elements could be directly borrowed into Old-Belarusian and Old-Ukrainian, the main channel for their penetration was Polish. Through the Polish mediation Bohemian loanwords were borrowed from various lexical-semantic groups, mainly from religious, military, socio-political and economic, everyday life vocabulary. The similar conditions of borrowing of Bohemianisms in Old Belarusian and Old Ukrainian are obviously the main reason why Bohemianisms in both languages are close in number and chronology of written fixation. This similarity is especially noticeable against the background of Old Russian data, where bohemisms were recorded later and in smaller numbers
42
Dumitrescu, Marius. "A Journey Inside the Perception of the Self-Image - from the 15th Century Italian Portrait to the Glamorized Image on the Facebook." Postmodern Openings 12, no. 3 (August 10, 2021): 34–59. http://dx.doi.org/10.18662/po/12.3/326.
Full textAbstract:
This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a certain perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then.
43
Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (April 30, 2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.
Full textAbstract:
At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no hard edges. Since the 16th century, his technique was famous due to the perfection of the works of art that glazes have allowed artists to reach. Analytical characterizations of painting materials have helped us to improve our knowledge about this technique. X-ray fluorescence measurements were carried out on seven paintings by Leonardo da Vinci preserved in the Louvre museum. This technique is widely used for qualitative determination of the pigments but it is very difficult to interpret the data quantitatively in the case of layered structures such as easel paintings. As well as the characterization of the palette, we obtain in-depth information on how Leonardo modelled his shadows. Comparisons between the different paintings of Leonardo highlight the specific features in the Leonardo technique.
44
Konstantinova, Elena Yu. "PAVEL FLORENSKY’S CONCEPT OF THE ICON." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 19–32. http://dx.doi.org/10.36340/2071-6818-2020-16-4-19-32.
Full textAbstract:
This article is an analysis of the concept of the icon as seen by Pavel Florensky, a priest, philosopher of religion, and theologian. He expressed his views on the art of icon painting in the articles The Church Ritual as a Synthesis of the Arts, Devotional Icons of St. Sergius of Radonezh, and Reverse Perspective, as well as his work Iconostasis. Florensky’s theory is of great interest for art history, contributing to it not only by highly evaluating Russian icons of the 14th and 15th centuries but also by offering a new approach to realism in art. Yet as his concept is complex, it is also controversial. Viewing the icon as a work of art and following Plato’s philosophy, Florensky believes the objective reality of the Realm of Ideas to be the basis of artistic creativity in general and icon painting in particular. According to him, the creation of art is not an artist’s subjective search for the ways of self-expression but the result of the soul’s ascent to the truth, the world of prototypes. The icon reflects divine reality and is thus realistic in nature. Highly evaluating the icon painting in the 14–15 century Russia, he believes Andrei Rublev’s Holy Trinity to be an art masterpiece. However, developing his concept, Florensky discards the term “image”: for him, the icon is merely a symbol pointing to the prototype. The artistic image is born in the artist’s soul and exists independently from the icon, and can then be born in the soul of the beholder, who is guided to the prototype by the symbol. This is how the icon, as a result of artistic creation, is reproduced in the person viewing it. Florensky underlines the importance of aesthetics in assessing an icon, for a work’s artistic perfection is inseparable from its ability to testify to the prototype, and beauty is measured with the truthfulness of this testimony. Yet by acknowledging the fact that all icons created according to the canon are of the same value, he renounces the artistic criterion and makes the masterpieces of icon painting equal to many other artworks of average quality. For Florensky, the icon is an integral part of a synthetic work of art – the church ritual – and its existence as an art phenomenon is dependent on certain conditions: if these are not met, it “dies” as art.
45
Bella, Takushinova. "Parsuna – the first secular representation of the traditional Russian icon." Resourceedings 2, no. 3 (November 12, 2019): 1. http://dx.doi.org/10.21625/resourceedings.v2i3.618.
Full textAbstract:
The second half of the 15th century in the Russian Church history marked a strong decline of spiritual life, which naturally found its reflection in the icon painting. The feeling of integrity of an image, its depth were lost. At the same time, the weakening influence of the Orthodox Balkans and the Byzantine Empire gave way to the influence of the Catholic West with its profoundly different principles of religious art.In this transitional period of the Russian cultural life, characterized by the transformation of the medieval worldview and the formation of new artistic ideals, appeared parsuna (a rough Russian transliteration of the Latin word “persona”) - an early secular portrait of a lay person in the iconographic style that represents an important transition in Russia’s art history. The first pasruna were painted, most probably, by the iconographers of the Moscow Kremlin Armoury in the 17th century. The painters of these portraits were usually monks that tended to be anonymous, showing a humility.Although the stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (special attributes and signatures allow to define represented), it still can be viewed as one of the very first attempts to look at person not only through the rigid iconographic canons, but also through a prism of psychological interpretation. Thus, this transitional image may be concerned as the initial fundamental step on the way to the further introduction fo the European portrait tradition in Russia.In this study, we would like to consistently trace how parsuna, thanks to its completely new stylistic value, can be considered one of the earliest stages on the way to the secularization of the Russian art in the early 17th century, which led to the separation from the strict iconographic religious canons and, consequently, to the rapprochement with the European art.
46
Gervers, Michael. "Churches Built in the Caves of Lasta (Wällo Province, Ethiopia): A Chronology." Aethiopica 17 (December 19, 2014): 25–64. http://dx.doi.org/10.15460/aethiopica.17.1.857.
Full textAbstract:
The five churches of Yǝmrǝḥannä Krǝstos, Ǝmäkina Mädḫane ʿAläm, Ǝmäkina Lǝdätä Maryam, Walye Iyäsus and Žämmädu Maryam are all built in caves in the massif of Abunä Yosef, situated in the Lasta region of Wollo. Changes in their architectural forms suggest that they were constructed over a period of several hundred years in the order listed and as such represent a significant chronological model against which many of Ethiopia’s rock-hewn churches may be compared. Until the publication of this paper, it has been universally accepted that the church of Yǝmrǝḥannä Krǝstos was built in the second half of the 12th century under the sponsorship of an eponymous king. Aspects of the church’s architecture, namely the absence of a raised space reserved for the priesthood before the triumphal arch (the bema), of any sign of a chancel barrier around it, of western service rooms, of a vestibule and narthex, and of the presence of a reading platform (representative of the Coptic ambo), of a full-width open western bay (allowing for a ‘return aisle’), and of arches carrying the aisle ceilings, all point to a date of construction around the mid-13th century. In fact, the closest parallels to Yǝmrǝḥannä Krǝstos may be found in Lalibäla’s second group of monolithic churches, Amanuʾel and Libanos. Closely associated also is the church of Gännätä Maryam. A painting of the Maiestas Domini in the south-east side room (pastophorion) of the latter suggests that the room served as an extension of the sanctuary. By the end of the 13th century, as witnessed by Ǝmäkina Mädḫane ʿAläm and the other churches built in caves, the full-width sanctuary becomes a characteristic which endures throughout 14th- and 15th -century Ethiopian church architecture. Yǝmrǝḥannä Krǝstos and Gännätä Maryam stand on the cusp of a major liturgical change which coincides with the transfer of royal power from the Zagwe dynasty to their Solomonic successors, who sought legitimacy by following Coptic practices.
47
De Vrij, Marc Rudolf. "De Meester van de Magdalena-legende en de diptiek van Willem van Bibaut." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 73–78. http://dx.doi.org/10.1163/187501794x00350.
Full textAbstract:
AbstractWithin the range of works attributed to the Master of the Magdalen Legend are a number of Madonnas generally considered to date back to the last decade of the 15th century. All of these pictures are comparatively small and show a rather chubby type of Madonna with the Child slightly out of proportion. The golden backgrounds are punctuated. All these pictures are by the same hand, and are considered to date from the earliest period of the artist's activity. One of these paintings, now in the Mayer-Van den Bergh Museum in Antwerp, shows the Madonna holding the Child at her left breast. There is a second version of this painting on the left-hand panel of a diptych formerly in the Wetzlar collection in Amsterdam. The right-hand panel bears the portrait of a Carthusian monk, and is inscribed Guilelmus bibaucis primas tot [ius] Ordinis Carthusiemum. 1523.. The sitter has been identified as Willem of Bibaut (1484 1535), who became abbot of the Grand Chartreuse monastery in Grenoble in 1521. The portrait was probably painted to commemorate that event. Given that the stylistically very different paintings belonging to the Magdalen altarpiece which gave the artist his name date from the same period, the Madonnas can no longer be regarded as early paintings by the Master of the Magdalen Legend. Apparently they are the work of another artist.
48
Gilta, J., and J. R. J. Van Asperen De Boer. "Een nader onderzoek van 'De drie Maria's aan het H. Graf' - een schilderij uit de 'Groep Van Eyck' in Rotterdam." Oud Holland - Quarterly for Dutch Art History 101, no. 4 (1987): 254–75. http://dx.doi.org/10.1163/187501787x00484.
Full textAbstract:
AbstractThe precise relationship of The Three Maries at the Tomb (Fig. 1) in the Boymansvan Beuningen Museum in Rotterdam to the work of Hubert and/or Jan van Eyck has proved difficult to establish, mainly because relatively little is known about their output apart from Jan van Eyck's signed paintings of 1432-41. The provenance of the Rotterdam picture has been traced back to the mid 18th century (Note 2), while the coat of arms, a later addition at bottom right, has been identified as that of Philippe de Commines, who has thus been posited as the earliest known owner (Note 3). Since the beginning of this century the panel has generally been ascribed to Hubert van Eyck on the basis of a comparison with his contribution to the Ghent Altarpiece, but doubts have also been expressed about the attribution to the Van Eycks (Note 5), while later dates have been suggested on the grounds of the view of Jerusalem (Note 6, 7) or the arms and armour (Notes 8, 9) . However, Panofsky remained convinced of the early date and kept to the attribution to Hubert, while suggesting that Jan had worked over certain details (Note 10). The restoration of 1947 (Note 11) revealed some gilded rays on the right side, which gave rise to suggestions that the panel had once formed part of a friezelike composition or a triptych (Notes 12-14). Recent opinion still remains divided, Sterling seeing the panel as having been painted by Jan van Eyck after 1426 (Note 15), Dhanens as the work of a follower around 1450-60 (Note 16). Scientific examination appeared to be the only way of obtaining new data, while the recently published results of a similar examination of the Ghent Altarpiece (Note 17) offered an additional incentive. An earlier scientific examination was carried out by Coremans in 1948 (Note rg), while the work had previously been examined by infrared reflectography by the authors in 1971 (JV ote zo) . Tfie 1)(inel on which the picture is painted consists rf three horizontal planks with dowelled joints (Note 21). The four corners are bevelled off at the back, which suggests that any later reduction in the panel can only have been slight. On the back is a sealed statement by D. G. van Beuningen to the effect that the painting had not suffered from being stored underground during the war (Fig. 2, Appendix 2) . The paint surface is in a reasonably good state, but exhibits heavy craquelure, which has played a part in the aesthetic assessment of the picture (Note 23) . Dendrochronological examination (Appendix I) showed that the two oaks from which the planks came were probably not felled before 1423. Since recent research has shown that the gap between felling and usage was not likely to have been much more than fifteen years in the 15th century (Note 25) and there is nothing to support the hypothesis that an old panel was reused here (Note 26), it is highly improbable that the picture was painted at the end of the 15th century. The most likely date is C. 1425-35 i.e. the period when the Ghent Altarpiece was painted or slightly later. No other results of dendrochronological examination on Van Eyck panels are available for comparison as yel. Examination by infrared reflectography (Note 28) revealed detailed underdrawing in virtually all parts of the picture and this was very carefully followed during painting with changes only in small details (cf. Figs.3, 5, 7). Stylistically the underdrawing accords with what is known about underdrawing in Van Eyck paintings today, this exhibiting a considerable difference from that of other Flemish Primitives, so that the Rotterdam panel is certainly a Van Eyck work. Among the most striking similarities to the central panel (x) and that with the Knights of Christ (IX) in the Ghent Altarpiece (Note 30) are the underdrawing of the drapery of the angels (Figs. 7-9), the city in the distance (Figs. 3,4, Note 31) and the minutely detailed armour (Figs. 14, 15, Note 33). Types of hatching that appear to be characteristic of the Van Eyck style are that of the shadows, which is sometimes overlapping and generally parallel to the main contours (Figs. 5,8) and a more rarely used type with short lines at an angle to contours (Fig. 9). The x-radiographs (Note 35) give a good idea of the damage to the paint surface (Figs. 16, 17) , which isfound mainly in the sky, along the crack in the top plank and on the bottom edge on the left. There is also a great deal of abrasion on the edges of the craquelure. The x-radiographs confirm the fact that no radical changes were made in the original, generally underdrawn, composition and reveal that the soldiers and their arms were left in reserve during the painting of the rocks and ground, a detail which likewise indicates continuity during the painting process. The underpainting of the rocks in large light blocks with simple contours shown up by x-ray photography is very close to that in panel IX in the Ghent Altarpiece (Note 38). Examination by stereomicroscope (Note 40) generally already gave an impression of the layered structure of the paint. It also showed up some minute details scarcely distinguishable by the naked eye : two horsemen and somefigures in tlae square on tlte leji qlthe city, a .slalue in a niche in the doorway in the zvall in tlae certtre (Fig. 18; possibly a reminiscence of the Golden Gate, Note 56) and a number of ship's masts with crow's nests on the horizon on the right (Fig. 19). Part of the vegetation was shown to be very finely and precisely rendered (Figs. 20, 21), while the rest was not so fine. Similar differences appear in the two bronze-coloured ointment jars in this painting and also in the bottom zone of the Ghent Altarpiece (Note 41). These may reveal two different hands or the somewhat hasty finishing of some areas. The paint samples (Note 42) revealed the presence of an oleaginous isolating layer over the chalk and glue ground comparable to, but thinner than that on the Ghent Altarpiece (Note 45). The only other Flemish Primitive in whose work such a layer is found is Dirc Bouts (Note 50). The paint layer also exhibits many similarities to that of the Ghent Altarpiece, not only in the number and thickness of the layers, but in the composition and overall structure of the paint. For example, the skies in both works are built up in three layers from light to dark on the basis of lead white with increasing amounts of azurite and sometimes a bit of lapis lazuli, the vegetation consists of two layers of green with a glaze over them and the structure of the red mantle of one of the Maries resembles similar areas in the Ghent Altarpiece. This technique again makes it very unlikely that the panel was painted at the end of the 15th century or later. A final point is that the gilded rays ( Fig. 22), like the coat of arms (Fig. 23), prove to be a later addition. Finally, renewed consideration was given to certain iconographical aspects which have been used as dating criteria. The arms and armour have been seen as grounds for a later dating by Squilbeck in particular, but it seems quite likely that many of the forms are purely imaginary, while other experts do not agree with Squilbeck in dating certain elements to the 16th century (Note 53). The arms and armour are in any case an integral part of the painting. The detailed view of Jerusalem is regarded by some as impossible before Erhard Reuwich's print of 1486, while others express surprise that it was not copied by other artists. In fact, however, it is strikingly close in many details to the view in the Ghent Altarpiece, although the latter is firmer in its spatial construction and more convincing. Whole sentences have been read into the texts on the hems of two of the Maries' garments and the soldier's cap (Note 57 ) and it has been argued that the letters are Roman, not Hebrew (Note 58), but in fact they are indispulably Hebrew and although words can sometimes be recognized, they do no form a sentence or text (Note 59). The coat of arms is certainly that of a nobleman of the Order of St. Michael, but whether he was Philippe de Commines is uncertain. The Van den Woesteyne and Van Meaux van Vorsselaer families also bore these arms, albeit in different tinctures (Note 6o). Since the arms are done, in a brownish-grey, they cannot be more precisely identified. The presence of no less than five layers of varnish between the green meadow and the coat of arms could indicate that the arms were added much later than previously thought, possibly in the 16th or even the 17th century (Note 47). While the present study has shown that the Rotterdam painting is quite an early Van Eyck, its precise position in the Van Eyck oeuvre cannot be determined until results of examinations of other works in the group are available.
49
Baulo, A. V. "Evidence Relating to the Christian Missions in the Trans-Urals and Northwestern Siberia (8th to 16th centuries)." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 3 (September 21, 2019): 104–10. http://dx.doi.org/10.17746/1563-0110.2019.47.3.104-110.
Full textAbstract:
This study addresses the possible activity of early Christian missions among the Vogul (Mansi) of the Urals, Trans-Urals, and northwestern Siberia between the 8th–16th centuries. Three stages in their history are described. The fi rst (700–1000 AD) was marked by the import of southwestern Central Asian silver dishes (diskoi) reproducing biblical themes and Christian symbols. Specimens from Grigorovskoye, Anikovskoye, and from the Malaya Ob had been cast in Nestorian communities of Semirechye. The imported diskoi gave rise to the tradition of offering food to deities on metal dishes. The second stage (1200–1400 AD) began when silver plaques depicting the famous theme of icon painting (“The feat of the Martyr Demetrius of Solun defeating King Kaloyan of Bulgaria”) had been imported to the region. The third stage (15th and 16th centuries) correlates with the Russian expansion to Siberia and attempts to baptize the natives. At the ceremony, baptismal symbols such as tin plaques were given to the neophytes. Apparently, most plaques represent the biblical King David and were manufactured by Russians in the late 1400s to early 1500s. In the 16th century, plaques with the fi gure of St. George appeared in Siberia. The analysis of items showing biblical and hagiographical characters and of their distribution in northwestern Siberia suggests that Christian missions were unable to oust paganism from the region. Russian religious items were used in native rituals mostly if they represented horsemen, because these seemed to allude to the son of the Ob Ugric supreme deity Mir-Susne-Khum, also depicted as a horseman.
50
Alttoa, Kaur. "Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)." Baltic Journal of Art History 14 (December 27, 2017): 7. http://dx.doi.org/10.12697/bjah.2017.14.01.
Full textAbstract:
Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur (Estonian Architecture, 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church.The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room.Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century.The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs.Pärnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Pärnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Pärnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Pärnu had an eastern niche similar to the one in Haapsalu. It is not impossible that the motif was borrowed from the cathedral across the river or its ruins. Attention should also be paid to the fact that the design of the northern and southern walls in the sanctuary of Pärnu’s St Nicholas’ Church are similar to the Vormsi church. Therefore, there is no doubt that these two sanctuaries are architecturally and genetically related. Apparently the Vormsi sanctuary was built immediately or soon after the completion of the Haapsalu Cathedral – not later than 1270. It is not impossible that the vaults were constructed sometime later.The vault painting in the Vormsi sanctuary is probably inspired by the “paradise vaults” in Gotland. The Vormsi painting is strikingly primitive. In Estonia, this primitive style can also be seen in the churches in Ridala and Pöide.There is a squint (hagioscope) on the southern wall of the Vormsi church sanctuary, and an unusual sacrament niche with a light shaft in the eastern wall. This does not date back to the time when the sanctuary was built, but was added later. There have been at least eight such sacrament niches in Estonia, most of which were built in the 15th century.