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1
Wansink, Christina J. A. "De decoratieve schilderkunst van Mattheus Terwesten, een Haagse meester uit de achttiende eeuw." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 270–92. http://dx.doi.org/10.1163/187501790x00138.
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AbstractThe painter Mattheus Terwesten, much esteemed in his own day, and highly praised by Van Gool, was born in 1670 in The Hague. He was taught by his older brother Augustinus, Willem Doudyns and Daniel Mytens. In 1695 he travelled by way of Berlin, where Augustinus was court painter, to Rome, where he became a member of the Bentyvueghels, who nicknamed him 'Arend' (eagle). Back in Berlin in 1698, he was commissioned by the Elector to design two ceilings for the palace in Charlottenburg. From 1699 on, apart from a brief sojourn in Berlin as court painter in 1710, he lived in The Hague. Many of his patrons were prominent members of the regent class. Terwesten continued to paint until a ripe old age; throughout his life he was an active member of the Pictura Confrerie and the Hague Academy. He died in 1757. The Rijksprcntenkabinet possesses a biography written by his son Pieter, based on the painter's own notes. The carliest known work is a Liberation of Andromeda in the Herzog Anton Ulrich-Museum in Brunswick, dated 1697 Berlin', a combination of location and year that cannot be correct. The ceilings painted by Augustinus and Mattheus for Charlottenburg have been lost; since 1977 however, the palace again contains four large paintings by Mattheus with scenes from the story of Aeneas and Dido, one of them signed and dated 1702. Preparatory studies, as part of a series of twelve drawings, are in the Rijksprentenkabinct in Amsterdam. The paintings probably belong to the series of twelve pieces devoted to Aeneas which Mattheus, according to Pieter's manuscript, painted in 1702 for the house of Van der Straaten in the Hoogstraat, The Hague. Terwesten's most ambitious ceiling is the cupola of Fagel, a combination of painting and painted stucco, done in collaboration with the flower painter Gaspar Peeter Verbrugghen. Restoration of the old town hall of The Hague in 1974 revealed a ceiling painted by Terwesten in 1737. ln the Drents Provinciaal Museum in Assen is a Terwestcn ceiling, regarded as an anonymous work, which has been established as coming from 22, Hooglandse Kerkgracht in Leiden. Terwesten rarely received church commissions; an exception is an altarpiece, the Transfiguration, for the Old Catholic church in the Juffrouw Idastraat, The Hague. His later works, like Solomon's first judgment in the town hall of Monster, are characterized by a certain rigidity. This also applies to an Allegory on peace, catalogued as an anonymous painting, in the Mauritshuis in The Hague, which may be attributed to Terwesten. Mattheus Terwesten not only carried out commissions but painted for the open market as well. In view of the relatively large number of religious works listed in the catalogue of his estate, which was auctioned in 1757, there seems to have been a market for biblical scenes. His paintings of children or putti at play were very popular. Many of them have been erroneously attributed over the years: an Allegory on spring in the museum at Tarbes and an Allegory on spring in the Bayerische Staatsgemäldesammlungen in Munich arc attributed to Augustinus Terwesten. Mattheus Terwesten collaborated with various flower painters, in keeping with a Flemish tradition to which he had been introduced by Gaspar Peeter Verbrugghen, who came from Antwerp. After Verbrugghen left The Haguc (in 1732), Terwesten worked with Pieter Hardimé and Coenraet Roepel, who later taught his son Pieter. Terwesten's decorative and later somewhat mechanical style catered to the taste of the wealthy citizens of his day. It is in this light that his works mcrit attention.
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Archer, Thomas P., Miriam L. Freimer, and Ernest L. Mazzaferri. "Chronic Fatigue and Acute Respiratory Failure in a House Painter." Hospital Practice 32, no. 9 (1997): 150–55. http://dx.doi.org/10.1080/21548331.1997.11443568.
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Dossing, M., O. Jacobsen, and S. N. Rasmussen. "Chronic Pancreatitis Possibly Caused by Occupational Exposure to Organic Solvents." Human Toxicology 4, no. 3 (1985): 237–40. http://dx.doi.org/10.1177/096032718500400302.
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1 Acute pancreatic injury has been attributed to occupational exposure to chemical agents in workers, but there have been no previous reports of occupationally induced chronic pancreatitis. 2 Severe chronic exocrine pancreatic insufficiency was found in a 29-year-old house painter, where other known causes of chronic pancreatitis could be ruled out. The patient had previously experienced abdominal pain and diarrhoea associated with exposure to spray paints followed by remission of the symptoms during vacations. 3 Although the association between exposure and pancreatic insufficiency may be a random one, a possible causal relation should be further evaluated.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ah.11.1.204-223.
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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Unković, Nina. "Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia." Ars & Humanitas 11, no. 1 (2017): 204–23. http://dx.doi.org/10.4312/ars.11.1.204-223.
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Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.
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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.
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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.
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Milhous, Judith. "Painters and Paint at the Pantheon Opera, 1790–1792." Theatre Research International 24, no. 1 (1999): 54–70. http://dx.doi.org/10.1017/s0307883300020265.
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The importance of scene painters to English theatre increased markedly toward the end of the eighteenth century—in part a response to the contributions of Philip James De Loutherbourg at Drury Lane in the 1770s. Advertisements began routinely to record the name of what we would now call the scene designer. Gaetano Marinari was identified as principal painter and machinist at the King's Theatre in the Haymarket between 1785 and 1789, when the old opera house burned. Thomas Greenwood held the equivalent position at Drury Lane, John Inigo Richards at Covent Garden, and Michael Angelo Rooker at the Little Theatre in the Haymarket. For particular productions the names of assistant painters might also be advertised. On 20 December 1785, for example, Covent Garden listed Richards, Carver, Hodgins, Catton Jun., and Turner as the crew that executed scenery for the travelogueOmai, which turned out to be De Loutherbourg's last designs for the London theatre.
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Sorić, Sofija. "Ljetnikovci mletačkog pukovnika Vuka Crnice na otocima Viru i Ugljanu." Ars Adriatica, no. 4 (January 1, 2014): 327. http://dx.doi.org/10.15291/ars.506.
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The author deals with two country houses of Vuko Crnica which have not hitherto been subject to scholarly research. One of them is no longer extant residential and agricultural complex of the Crnica Family on the island of Vir which consisted of a country house, a chapel and a small utility building. These structures were built by Vuko Crnica, a colonel in the Venetian army, after 1634, when he received the island of Vir as a concession, but before 1666, when they were mentioned for the first time in his will. The country house at Preko on the island of Ugljan was erected in 1666, as is recorded on the inscription installed above the entrance to the garden. This house is well-preserved albeit in a modified form because of the nineteenth-century intervention which occured when it was owned by the painter Franjo Salghetti-Drioli. Significant features of the summer residence at Preko include a large, well-preserved garden, as well as the original articulation of the living quarters inside the house. The inventories of the country houses at Vir and Preko, recorded in 1683, enable us to reconstruct their original appearance and furnishings. Both country houses belong to the large group of seventeenth-century summer residencies being built on Zadar islands. Both, through their characteristic locations by the sea, one with a chapel, the other with a large garden, fit into the contemporary trends in country house architecture on Dalmatian islands, marked by simple, utilitarian architecture with hints of Baroque morphology applied to specific elements of architectural and sculptural decoration.
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Duparc, F. J. "De Calvarieberg van Philips Wouwerman herontdekt." Oud Holland - Quarterly for Dutch Art History 119, no. 4 (2006): 159–63. http://dx.doi.org/10.1163/187501706x00311.
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AbstractSince the 1993 publication, in this journal, of an article about Philips Wouwerman (1619-1668), little new information about the artist has emerged. There have been some shorter publications and recently a monograph with a catalogue raisonné of Wouwerman. The 1993 article discussed roughly two dozen dated works. In addition there are a few references to dated paintings in old sale catalogues. Among these was a Calvary, known to be dated 1651. This painting has recently been rediscovered (fig. i). It is in excellent condition and forms an important addition to the artist's known work, not only because it is dated, but also because its biblical subject is unusual for the artist. The crucifixion itself is given a relatively modest place in the composition. It is possible that an engraving by Lucas van Leyden inspired Wouwerman when he painted the scene. Stylistically the painting fits with Wouwerman's other works from around 1652. Certain aspects of the composition are reminiscent of his earlier work, but the rendering of landscape and figures, and the use of colour arc characteristic of his canvases from the period 1652-1654, for example Peasants making merry in front of an inn of 1653, now in Minneapolis (fig. 2) and the Peasant wedding in the Samuel Collection at the Mansion House, London. The painting was probably sold at auction in Amsterdam in 1709, together with two other New Testament scenes by Wouwerman, and a Crucifixion of 1661 by Karel du Jardin. Hofstede de Groot noted that the latter work and Wouwerman's Calvary were paintcd in response to a competition announced by the Count of Wassenaar, but this seems untenable. If both pieces were indeed painted for one collector, it seems more likely that this was Jacob Cromhout from Amsterdam. The rediscovery of the Calvary adds important information to our picture of Wouwerman and reminds us that he was not just a successful painter of horse scenes. It also provided a helpful reference point for the chronology of his mostly undated work.
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Onesmo, Brigitha M., and Larama MB Rongo. "ASSESSMENT OF RESPIRATORY SYMPTOMS AND ASSOCIATED FACTORS AMONG HOUSE PAINTERS IN KINONDONI MUNICIPALITY TANZANIA." International Journal of Research -GRANTHAALAYAH 6, no. 1 (2018): 156–71. http://dx.doi.org/10.29121/granthaalayah.v6.i1.2018.1605.
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Background: House painters are increased as people prefer to live in good and decorated houses. Mishandling of paints and inhalation of paint materials become a problem as this paints contain chemicals which are poisonous upon inhalation. However, few studies have assessed respiratory symptoms among house painters in the Africa. The main objective of this study was to assess respiratory symptoms and associated factors among house painters.
 Methods: We used a questionnaire to interview 172 house painters and 148 non exposed group in different construction sites. A sub sample of 25 house painters was evaluated for lung function using EasyOne spirometer
 Results: The study revealed significant results when respiratory symptoms were compared among painters and non-exposed group (p<0.05). Low level of knowledge among workers and poor use of PPE were the main factors associated with exposed to paints. Protection of those workers would be only successfully if enforcement policy is enacted about every site to provide personal protective equipment (PPE) to workers.
 Conclusion: House painters are exposed to different painting materials and therefore appropriate measures are recommended.
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Di Benedetto, Claudio. "The Uffizi Library: a collection that documents collections." Art Libraries Journal 35, no. 2 (2010): 4–7. http://dx.doi.org/10.1017/s0307472200016321.
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The Biblioteca degli Uffizi acts as a documentary ‘black box’ for all the notable collecting that has taken place in Florence during the past 500 years. The Library’s collections stretch from the autograph 22-year diary of the 15th-century painter Neri di Bicci and the different editions of Vasari’s Lives of the painters, through the inventories and lists of objects acquired and held successively by the Medici, the House of Hapsburg-Lorraine and the new Italian united kingdom, and to all the memoirs and plans and catalogues of the directors and ‘royal antiquarians’ of the Uffizi Gallery. In addition it contains major works on art history, artists, public and private art collections, exhibitions and many related topics. The Library holds 77,000 printed books and more than 440 manuscripts; its catalogue is shared with the IRIS consortium of art history and humanities libraries and contributes to artlibraries.net through this shared bibliographic database. Several digitisation projects have already been completed or are currently in progress.
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Kaneko, Maki. "Mukai Junkichi’s Transformation from a War to Minka (Folk House) Painter." Archives of Asian Art 61, no. 1 (2011): 37–60. http://dx.doi.org/10.1353/aaa.2011.0006.
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Sylus, Raichel M. "PSYCHO-SOCIAL PERSPECTIVES IN TANYA MENDONSA’S THE DREAMING HOUSE." Kongunadu Research Journal 4, no. 1 (2017): 29–31. http://dx.doi.org/10.26524/krj171.
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Tanya Mendonsa is a prolific contemporary writer, an abstract painter and more than everything, a lover. Two volumes of her poems entitled The Dreaming House, All the Answer I Shall Ever Get and an enchanting narration The Book of Joshua are published so far. A writer’s role to his/her role is inevitably a contributing one to her society. The object of “peeling back the layers of personal memory and experience” helps in understanding “the often irrational roots of human motivation, thoughts, and behaviour” (Kandel). In coordination with personal memory, Mendonsa’s early life and way of upbringing can be considered with relevance to the context of psycho social impact of nature in literature. In The Dreaming House she records the pattern of a true nature lover throughout her poems. In other words, “[T]he near and the remote are yoked together” in the poems of Tanya Mendonsa (Prasad 104).
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De Fouw, Josephina, and Ige Verslype. "Aeneas and Callisto." Rijksmuseum Bulletin 67, no. 3 (2019): 196–215. http://dx.doi.org/10.52476/trb.9730.
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The Rijksmuseum has in its collection an oil sketch by Jacob de Wit (1695-1754) of a design for a ceiling painting. This ceiling painting – The Apotheosis of Aeneas – was commissioned by Pieter Pels (1668-1739) for his house at number 479 Herengracht, Amsterdam. The present article identifies the room for which the work was made. The ceiling painting proves to have been part of a larger painted ensemble by Jacob de Wit and the landscape painter Isaac de Moucheron (1667-1744). On the basis of De Wit’s sketches, records in the archives and research on site, a picture of the way this painted room looked in Pels’s day is built up. The later fortunes of the room are also explored. At the end of the nineteenth century the ceiling painting was replaced by another one, also by De Wit. As a result of this very curious switch, the present ceiling painting is no longer an original whole, but a composite hybrid. All the other interior paintings vanished from the room long ago. Three of them, a chimney-piece and two overdoors by De Wit, have been traced to Russia. Three previously unknown paintings have now been added to the artist’s oeuvre.
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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration." Polar Record 52, no. 3 (2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.
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ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.
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Wootton, William. "Another Alexander mosaic: reconstructing the Hunt mosaic from Palermo." Journal of Roman Archaeology 15 (2002): 264–74. http://dx.doi.org/10.1017/s1047759400013957.
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In 1904, a mosaic representing a hunt scene was found in House B in the Piazza della Vittoria in the centre of modern Palermo. The results of the excavations were published in 1921 by E. Gabriel. In 1931 H. Fuhrmann included an analysis and reconstruction of the mosaic in his book on the painter Philoxenos of Eretria. Work on both the context of the house and the mosaic has continued, confirming that House B was a richly-decorated Hellenistic house situated close to the E wall of the old town of Panormus. In this article I will re-assess Fuhrmann's reconstruction and subsequent interpretations. After describing the mosaic in detail, I will present and explain a new reconstruction.The Hunt mosaic was found set centrally in a large room (r) to the north of the peristyle (figs. 1 and 6). The main picture of the mosaic (205 × 174 cm) is framed by two bands, the inner black and the outer white. An intricate floral border comes next, then a band of white tesserae set at a 45° angle, and an outer frame consisting of two parallel black bands with a white one running through the middle. An adjusting border of white tesserae, also set at a 45° angle, runs up to the base of the walls.
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Van Duijn, Heleen. "Helen Southworth. Fresca. A Life in the Making. A Biographer’s Quest for a Forgotten Bloomsbury Polymath." European Journal of Life Writing 9 (October 7, 2020): R21—R24. http://dx.doi.org/10.21827/ejlw.9.36978.
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The subject of Southworth’s book is Francesca (Fresca) Allinson (1902–1945), a puppeteer, choral conductor, writer and creator of folksongs, whose life was cut short by drowning. She grew up in a gifted and thoroughly non-conformist family. Her brother Adrian, a painter, studied at the Slade school. Her father worked as a doctor at his practice in London, obtaining and practising his own unorthodox convictions about hygiene and diet. As a radical pacifist Fresca helped provide alternative communities for conscientious objectors (COs). Her fictional autobiography A Childhood was published in 1937, by the Hogarth Press, the publishing house of Leonard and Virginia Woolf.
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Gunawan, Gede Arista. "Penyesuaian Metode Penanganan Proyek dan Desain Arsitektur pada Masa Pandemi." SMART: Seminar on Architecture Research and Technology 5, no. 1 (2021): 13–22. http://dx.doi.org/10.21460/smart.v5i1.143.
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Title: Adjustments of Project Handling and Architecture Design Method at Pandemic Time:
 Case Studies: Painter House and Villa Nabu Projects by Bale Design
 
 Architects have methods in project handling and architecture design. Physical interaction is an important part of the method, between architect and his client or his design or construction team. The pandemic has changed the design and construction process, because of the limitation of physical interaction between parties on a project. Physical interaction has been replaced with online interaction. The writer doing case studies to project handling of ongoing works, Painter House in Bali and Villa Nabu in Lombok. The architect has adjusted the method of the design process and design approach. Architect feels benefits from online interactions, like some technical practicalities in communication to many parties on the project. But architect also feels the downside of online interaction like the decreasing of psychological quality in communication, especially in convincing people because of the decreasing persuasive personal approaches which usually built from analyzing facial and body gestures in the physical interaction. The architect profession is much related to services, which needs to convinced many parties on the project. Architect has tried to improve the lack of psychological quality in online communication by increasing the number of online interactions, while also limiting the content of the communication and allowing enough time lags for other parties to be able to absorb the given information properly before responding back to it. Other factors also have increased the complexity of communication, like the position of the clients in foreign countries, the location of the project on a different island from the architect, the location of the developer on a different island from the architect, and the early phase of the projects where architect need to work in collaboration with a foreign architect on another country.
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Steadman, Philip. "Allegory, Realism, and Vermeer's Use of the Camera Obscura." Early Science and Medicine 10, no. 2 (2005): 287–314. http://dx.doi.org/10.1163/1573382054088123.
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AbstractCritics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.
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Betti, Michele, Valentina Bonora, Luciano Galano, Eugenio Pellis, Grazia Tucci, and Andrea Vignoli. "An Integrated Geometric and Material Survey for the Conservation of Heritage Masonry Structures." Heritage 4, no. 2 (2021): 585–611. http://dx.doi.org/10.3390/heritage4020035.
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This paper reports the knowledge process and the analyses performed to assess the seismic behavior of a heritage masonry building. The case study is a three-story masonry building that was the house of the Renaissance architect and painter Giorgio Vasari (the Vasari’s House museum). An interdisciplinary approach was adopted, following the Italian “Guidelines for the assessment and mitigation of the seismic risk of the cultural heritage”. This document proposes a methodology of investigation and analysis based on three evaluation levels (EL1, analysis at territorial level; EL2, local analysis and EL3, global analysis), according to an increasing level of knowledge on the building. A comprehensive knowledge process, composed by a 3D survey by Terrestrial Laser Scanning (TLS) and experimental in situ tests, allowed us to identify the basic structural geometry and to assess the value of mechanical parameters subsequently needed to perform a reliable structural assessment. The museum represents a typology of masonry building extremely diffused in the Italian territory, and the assessment of its seismic behavior was performed by investigating its global behavior through the EL1 and the EL3 analyses.
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Аксенова, Галина Владимировна. "Claudius Vasilievich Lebedev as a Church painter and a Bible Illustrator." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 61–76. http://dx.doi.org/10.31802/bcaa.2020.4.3.004.
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В статье дана характеристика творчества представителя русской реалистической школы академика К. В. Лебедева, принявшего участие в росписи Вознесенского собора в г. Ельце и создавшего иконостас для болгарской церкви святого Стефана в Стамбуле. Любимым жанром для К. В. Лебедева стала историческая живопись, позволяющая с помощью красочности древнерусских костюмов и особенностей обстановки показать характеры людей. Как художник-график, К. В. Лебедев проиллюстрировал произведения классиков русской литературы. Иллюстрации к некоторым из них до настоящего времени остаются лучшими и непревзойдёнными как по технике исполнению, так и по глубине понимания образов. Среди крупнейших работ художника - иллюстрации к текстам Ветхого и Нового Заветов, к церковным пособиям и изданиям, изданным в начале XX в. в типографии И. Д. Сытина. The article describes the artistic heritage of the representative of the Russian realistic school, Academician K.V. Lebedev, who took part in the decorating of the Ascension Cathedral in Yelets and created the iconostasis for the Bulgarian Church of St. Stephen in Istanbul. Historical painting became his favorite genre and allowed to show the characters and the peculiarities of the situation through colorful ancient Russian costumes. As a draughtsman, K.V. Lebedev illustrated works of the classical Russian writers. The illustrations for some of them still remain the best and unsurpassed both in the technique of performance and in the depth of understanding the image. Among the artist’s biggest projects there are illustrations of the Old and New Testaments, church manuals and publications published at the beginning of the 20th century. in the printing house of I. D. Sytin.
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Hourmat, Françoise. "Some French Amateurs of the 2nd Half of the 19th Century." International Astronomical Union Colloquium 98 (1988): 56. http://dx.doi.org/10.1017/s0252921100092216.
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At that period there was keen popular interest in astronomy, and in many Paris squares, astronomers with terrestrial refractors gave talks on astronomy for a small sum. Léon Joubert created a observatory for scientific research and popularisation, allowing anyone to learn about the universe and use good instruments. He made 120 instruments: refractors, reflectors, projectors, and photographic instruments.Hermann Goldschmidt (1802–1866), born at Frankfurt am Main 17 June 1802, had poor health, became a painter and sought his fortune in Paris. He became an astronomer by accident after following a course of lectures at the Sorbonne given by Le Verrier. From a modest studio on the 6th floor of an old house in the heart of Paris, he discovered 14 minor planets between 1852 and 1861, the first being called Lutetia by Arago.
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Campbell, Louise. "Constructivism and Contextualism in a Modern Country House: The Design of Brackenfell (Leslie Martin and Sadie Speight 1937–38)." Architectural History 50 (2007): 247–66. http://dx.doi.org/10.1017/s0066622x0000294x.
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In the early years of the Second World War, Leslie Martin complied a photographic album to record the architectural work done in partnership with his wife Sadie Speight since 1934. It amounted to ‘quite a lot’, he wrote to Ben Nicholson. Thirty years later, Martin — by now Professor of Architecture at Cambridge and Head of the Land Use and Built Form Studies Centre — was to dismiss his pre-war work as ‘really insignificant in scale’. Martin’s own book, Buildings and Ideas, 1933–83, contains a highly selective account of this early period. This partial view has been further obscured by the persistent misdating and misidentification of the practice’s two most substantial pre-war houses — Brackenfell in Cumberland and Four Acres, North Ferriby, near Hull — in the literature of the Modern Movement in Britain. Of the two, Brackenfell is of particular interest, as the house of Alastair Morton, design director of a textile firm and novice painter. Martin’s own brief comments and the volume of drawings which survive for Brackenfell suggest that this was an important commission for Martin and Speight, and one which precipitated a significant shift in their approach to architecture. However, our inadequate knowledge of the work of the partnership means that the house has so far eluded full analysis. This article proposes to disconnect the evidence of this building from Martin’s subsequent career and architectural theories, and to view it instead in the context of its period. Using Brackenfell as its focus, the article aims to clarify Martin and Speight’s evolution as designers, and to probe the significance of their association with a distinguished group of artists during the late 1930s.
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Horváth, János. "Rippl-Rónai múzsái, híres kertjei, elveszett festményei és egy rejtélyes hamisítási ügy." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 4 (2016): 387–406. http://dx.doi.org/10.26080/krrmkozl.2016.4.387.
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The author published different short studies and stories about József Rippl-Rónai’s biography and his works. An obscure document was also published about the origin of his house which known in Kaposvár as Róma villa. It is the first time to compile Lazarine’s biography, French-born wife of the painter in which her tapestry of artistic activities was reviewed. Due to the modern style innovations, „Fifty draw-ings” titled and published by Rippl-Rónai in 1913 was also reported. In these studies, the English Fenella Lowell ap-peared as a model, who inspired nude women oil-paintings of Rippl-Rónai. An unknown letter from Rippl-Rónai’s daughter, the German-born Amélie Feigl was documented. An Rippl-Rónai’s counterfeiting pastel was storied which was hap-pened at the end of the artist’s life (1927) during his illness.
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Van Sasse Van Ysselt, Dorine. "Johannes Stradanus: de decoraties voor intochten en uitvaarten aan het hof van de Medici te Florence." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 149–79. http://dx.doi.org/10.1163/187501790x00075.
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AbstractSources show that the Flemish artist Johannes Stradanus, whose career flourished from about 1555 in Florence, collaborated on several occasions on large-scale, temporary decorations, most of them commissioned by the grand dukes de'Medici, for important dynastic events such as baptisms, entries into cities and funerals. A multitude of artists and craftsmen carried out these decorations on the basis of often complicated iconographic programmes. In 1564, for instance, on the occasion of Michelangelo's funeral in S. Lorenzo, Stradanus painted the grisaille Michelangelo in 1529 in his dwelling in the Giudecca being received by the nobles of Venice by order of the Doge Andrea Gritti and the Signoria. In 1565, for the triumphal entry into the city of Johanna of Austria, he painted all the pictures decorating the triumphal arch erected on the Canto de' Tornaquinci. These consisted of five scenes glorifying the following exploits of rulers of the House of Austria: Rudolf conferring the Archdukedom of Austria on Albrecht I, Maximilian II being crowned emperor, Ferdinand I defending Vienna against the Turks, Albrecht slaing Adolf of Nassau in a battle, Philip II of Spain receiving the corona obsidionalis from Malta and two large trompe-l'oeil street views. In 1574, for the funeral of Cosimo I de'Medici in S. Lorenzo, Stradanus was probably involved in the painting of the skeletons and coats of arms. Furthermore, on the occasion of Francesco I de' Medici's funeral in S. Lorenzo in 1587, he painted the grisaille Francesco visiting his betrothed, Johanna of Austria, in Innsbruck; in 1588, for the entry of Ferdinando I de' Medici into Pisa, the canvas The burial of Pope Stephen I in the catacomb of Callixtus for the decoration of S. Stefano dei Cavalieri; in 1589, for the entry of Christina of Lorraine, the painting The retreat of the Turks after the siege of Vienna, as part of the decorations on the Canto de' Bischeri. Finally, in 1598, for the obsequies in memory of Philip II of Spain in S. Lorenzo, the grisaillc The siege and capture of Antwerp; for the same occasion he also provided the design for the grisaille The conquest of the Philippine islands, painted by his son Scipione. Stradanus' first commissions date from the start of his career in Florence, when he was working in Vasari's studio. As one of the master's assistants in decorating the Palazzo Vecchio, he had already gained ample experience in large-scale painting for the Medici. After leaving Vasari's studio in about 157 and setting up as an independent artist, Stradanus remained one of the leading Florentine artists who received commissions for official large-scale decors. He retained this status up to a venerable age, a sign of the appreciation he continued to enjoy in this field. Unfortunately none of Stradanus' decorative work has survived, with the exception of the canvas in Pisa. An impression of his skill in this field in conveyed by contemporary sources and the sketches, drawings, etchings and engravings presented in this article. This material clearly shows that in his long and productive life Stradanus was not only active as a painter of frescos and altarpieces and a designer of tapestries and engravings, but also played a prominent role at the court of the Medici as a painter of decorations.
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Peck, Robert McCracken. "A painter in the Bering Sea: Henry Wood Elliott and the northern fur seal." Polar Record 50, no. 3 (2013): 311–18. http://dx.doi.org/10.1017/s0032247413000703.
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ABSTRACTHenry Wood Elliott (1846–1930), a U.S. Treasury official assigned to monitor the harvest of northern fur seals on the Pribilof Islands in the 1870s, became a self-taught expert on, and defender of, the species. His careful documentation of the seals’ breeding behaviour, and of their commercial harvest, complemented by hundreds of detailed and evocative watercolours, provides a unique record of this once abundant species and the lucrative industry that revolved around it. Elliott's outspoken lobbying on behalf of the seals’ protection is often credited with saving the species from extinction. His paintings of the seals, the seal harvest, and life on the Pribilof Islands in the second half of the nineteenth century constitute an unmatched historical record of this remote region.Elliott was able to witness two full breeding seasons (and harvesting) of the fur seals during his initial stay on the Pribilofs from April 1872 to October 1873. He returned to the islands to conduct a follow-up census of the seals, on behalf of the U.S. Government, in the summer of 1874. He traveled there unofficially and at his own expense in 1876. His fourth trip to the Pribilofs was in the spring of 1890 (again on behalf of the U.S. Department of the Treasury), in response to news of a dramatic decline of the seal populations. In April, 1891, because of his public revelation of mismanagement of the fur seal harvest, Elliott was fired by the Treasury. He continued his tireless lobbying on behalf of the fur seals as a private citizen for the rest of his life. He visited the Pribilofs for the last time on behalf of the House Committee on Expenditures in the Department of Commerce and Labor in the summer of 1913. Born in Cleveland Ohio on November 13, 1846, Elliott died in Seattle Washington on May 25, 1930.
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Broos, Ben. "Rembrandts eerste Amsterdamse periode." Oud Holland - Quarterly for Dutch Art History 114, no. 1 (2000): 1–6. http://dx.doi.org/10.1163/187501700x00290.
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In 1925 W. Martin published Pieter Lastman's painting Coriolanus and the Roman Women (Dublin, Trinity College). He read the date as 1622, which is stated in all subsequent publications. In the Lastman exhibition at the Rembrandthuis in 1991 the signature was transcribed as 'PLastman fecit A 0 1625'. This reading was, albeit unnoticed, a new source of information about Rembrandt's debut. Lastman's importance as Rembrandt's teacher is known. His Coriolanus turned out to be a key work, as has been stressed by Schatborn and Schwartz. On the basis of this painting, Rembrandt's training stint with Lastman has been dated 1624-1625 (Haak, Van de Wetering, White). Broos favoured 1625-1626, contending that this is suggested by Rembrandt's paintings of those years. Rembrandt's status in Lastman's workshop evidently entitled him to sign his own work. This view is contradicted by Defoer, who deems it unlikely that work signed by pupils would have left the master's workshop. It now appears that this actually did happen. In the year that Lastman painted his Coriolanus (1625), Rembrandt signed his first biblical painting, The Stoning of St. Stephen. This work, and notably the History painting in Leiden, is, also according to Chr. Vogelaar, inconceivable without the example of Coriolanus. A series of pictures dating from 1625 and 1626 were painted under Lastman's supervision. Henceforth they will have to be assigned to Rembrandt's first Amsterdam period, although they were hitherto regarded as dating from his time in Leiden. In the 1630s and also towards the end of his life, Rembrandt bore witness to his admiration of Lastman. Rembrandt must have been in Amsterdam in 1625 and 1626. During his stay there he met Hendrick van Uylenburgh, who settled in Amsterdam in 1625. Rembrandt was in contact with him, invested in his business, moved into his house in 1631, met his niece Saskia there and fell in love with her. The year 1625 undeniably marked a turning point in the life of the Leiden painter who was to become a burgher of Amsterdam.
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Kraan, Johannes H. "De particuliere kunstverzameling van H. W. Mesdag." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 305–27. http://dx.doi.org/10.1163/187501790x00156.
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AbstractThere is no lack of literature on Hendrik Willem Mesdag (1831-1915) in his capacity of an art collector. Most of it focuses on the collection in the museum which the painter built in The Hague in 1886 and presented to the nation in 1903 (note 1). Little or no attention has hitherto been paid however to the large collection of fine and decorative art that was kept at the time of Mesdag's death on July 10 1915 in his house, which adjoined the museum. The greater and most important part of this collection was eventually sold in New York in 1920 and thereafter dispersed. It is not known what criteria Mesdag applied in consigning items from his collection to the museum or keeping them in his home. No clear-cut distinction can be made between the kind of objects in his house and the museum. In both locations the tone is set bv the Barbizon and Hague Schools. Concerned about the future of his most prestigious creation, the enormous Panorama of Scheveningen, better known as the Mesdag Panorama, Mesdag set up a limited company in 1910 for the purpose of maintaining and exploiting the Panorama and the building that housed it. He gave the shares to his future heirs. Under the terms of his Will, his house and its contents were to pass to the Panorama shareholders on his death. The nation had the first option to purchase, which suggests that Mesdag wanted his house and a major part of his private collection to go along with the museum. Since there was a war on, the government regarded the purchase as imprudent. Part of the inventory was sold among the family, but the most important items were put up for auction. The auctioneer Frederik Muller & Cie compiled an illustrated catalogue. Before it was ready, however, the American art dealer J. F. Henson made an offer for the whole collection. The auction was cancelled, and the catalogue was published in a limited edition of 125 numbered copies (note 3 1). After the war most of the collection was shipped to America and auctioned in New York. A completely new catalogue was printed for the occasion (note ; 35). The said catalogues and a series of photographs of the interior convey an impression of the size and quality of the collection in Mesdag's home. There Mesdag left an important collection of paintings and drawings from the Barbizon School, including fourteen drawings by Millet (figs.4 and 5). Antonio Mancini is amply represented in the museum with fifteen paintings and pastels, but that is a mere fraction of the total number of works by Mancini amassed by Mesdag. He naturally possessed a large amount of his own work, as well as paintings and drawings by other artists of the Hague School (figs. 6 and 7). His collection of 17th-century masters was less important. Even so, Mesdag had a marked preference for Dutch 16th and 17th-century artefacts, witness the oak panels, furniture and other items of decorative art in his studio (fig. 2), a taste he shared with painters like Bosboom, Weissenbruch and Jacob Maris (fig. 9). Some of the furniture was quasi Gothic or quasi Renaissance, with ornate fittings and a profusion of carving, in keeping with the 19th-century notion of these styles. The most advanced aspect of Mesdag's collection was a collection of modern china from the Rozenburg factory, designed by Colcnbrander.
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Bridge, Helen. "Book Review: Paul Klee, Poet/Painter. By K. Porter Aichele. Rochester, NY and Woodbridge: Camden House, 2006. Pp. x + 225. £45.00." Journal of European Studies 37, no. 4 (2007): 430–31. http://dx.doi.org/10.1177/00472441070370040515.
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Hayen, Roald, and Hilde De Clercq. "Protecting the Stone Artworks of the Seventeenth Century Portico of the House of Pieter Paul Rubens in Antwerp (Belgium) from Wind Driven Rain." Restoration of Buildings and Monuments 22, no. 2-3 (2016): 47–64. http://dx.doi.org/10.1515/rbm-2015-1007.
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Abstract The forthcoming restoration campaign of the former house of the Flemish Baroque painter Pieter Paul Rubens (1577–1640) in Antwerp includes the design and construction of a new glass canopy. It is to replace the actual non-transparent roof structure, which was erected in the 1990s to protect the portico, separating the inner court yard of the house from the gardens, and especially its sculptural artworks from further material loss. The design parameters of the new glass canopy were evaluated based on the distribution probability of the rain on the portico as a function of rain intensity and wind velocity, while the rain distribution was determined based on the raindrop trajectories combining the vertical raindrop velocity and the horizontal drag from the wind. A minimum wind velocity of 40 km/h is required before rain can reach the feet of the sculptured artworks during intense rain showers. Statistical analysis of the hourly wind velocity and rain shower duration and intensity reveals a return period of approximately 4.2 years when the portico is protected by a glass canopy with identical dimensions of the actual provisory roof structure. Although the influence of intermittent wind gusts and squalls, which will more frequently drag along rainwater to the critical areas, and increase the amount of rainwater attaining the artworks during storms, could so far not be studied more in detail. The above risks are however considered acceptable to prevent future damage accumulation.
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Andersen, Michael Asgaard. "Reciprocities: Danish buildings in Schleswig-Holstein." Architectural Research Quarterly 14, no. 4 (2010): 327–39. http://dx.doi.org/10.1017/s1359135511000121.
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The painter Emil Nolde's studio was built in 1927 and, the following year, construction was begun on what was to become the house that he shared with his wife Ada in Seebüll. The building was located on a mound in the middle of the marsh, not far from the new border between Germany and Denmark that was made as a result of the vote in 1920. Nolde had designed the building according to the principle that it was to have ‘three facades following the passage of the sun’. Like a sunflower, the facades of the building were to reach out and take in the changing light in step with the sun's flight across the sky. There would be ample opportunity for both skylight and sunlight to enter the building as the positioning on a mound raised the building above the surroundings. In Nolde's view, up on the mound, ‘the entire celestial sphere was above us; it was greater than a semicircle - strange how even a small elevation in the flat landscape can make the vault of heaven seem larger’.
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Levin, Erica. "American as Apple Pie." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (2021): 145–49. http://dx.doi.org/10.1215/02705346-9052872.
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Abstract This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes by briefly considering the reception of Schneemann's work by a younger generation of artists, including Sondra Perry, who staged an homage to Americana I Ching Apple Pie in 2015.
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Zivkovic, Milos. "Unknown and less known icons from Praskvica monastery: Works by painter Radul, Dimitrije Daskal and Maksim Tujkovic." Zograf, no. 36 (2012): 199–222. http://dx.doi.org/10.2298/zog1236199z.
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This paper deals with the attribution of several icons from the treasury of the Praskvica monastery in Pastrovici. The earliest is the icon of Great Deesis, painted in 1680 by the painter Radul, for the iconostasis of the monastery Church of the Holy Trinity. The works by his apprentice, Dimitrije of Risan - the Great Deesis, the Deesis icon, and the icon of St. Demetrius with an unknown holy woman - we repainted in 1693 and in tended for the earlier monastery church dedicated to St. Nicholas. The same painter was the author of the icon of the Mother of God with Christ and the Royal Deesis, in Praskvica to day, which were painted for the iconostasis of the Church of St. Nicholas in Podostrog. The monastery of Praskvica also houses the icons painted by Maksim Tujkovic in 1714, the Hospitality of Abraham and the Crucifixion, preserved in fragments, which were initially positioned on the iconostasis in the Church of St. Nicholas.
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Marinus, Cornelis. "Rembrandts boedelafstand: een institutionele en politieke benadering." Pro Memorie 21, no. 1 (2019): 72–89. http://dx.doi.org/10.5117/pm2019.1.004.veld.
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Summary This contribution studies the cessio bonorum of painter Rembrandt van Rhijn in relation to the relevant rules and institutions of Amsterdam. In the Rembrandt case the procedural rules on the cessio bonorum were followed to a large extend. In regard to the beweysinge, a few weeks before the application for the cessio, it seems more convincing that it should be interpreted as a promise than as a conveyance of the house he owned. This new perspective on the beweysinge, however, does not alter the fact that it seems likely that there was a conflict between the Orphans Chamber (serving the interests of Titus) and the Insolvency Chamber (serving the interests of the creditors, and among them especially the former burgomaster Cornelis Witsen). Arguments for this are derived from: 1) the new bylaw issued by the Orphans Chamber shortly after Rembrandt’s application for the cessio, 2) the appointment of the renowned lawyer Louis Crayers as guardian of Titus (instead of Jan Verwout), and 3) the position of Titus’ preferential claim in the concursus creditorum. Crenshaw has stated that this conflict was decided by the personal influence of Cornelis Witsen. This contribution defends that Witsen only could enforce the sale of the house because of the institutional and political power structures within the city government. Witsen belonged to the powerful reigning faction of Cornelis de Graeff, whereas the majority of the officials in the Orphans Chamber belonged to the ‘political opposition’. In the end it was especially Witsen who profited from the sale (at the expense of Titus).
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BEVING, HÅKAN, RIGMOR MALMGREN, SVEN PETRE'N, and OLOF VESTERBERG. "Haematological Changes in House Painters using Epoxy Paints." Occupational Medicine 41, no. 3 (1991): 102–6. http://dx.doi.org/10.1093/occmed/41.3.102.
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Condello, Annette. "‘Sybaris is the land where it wishes to take us’: luxurious insertions in Picturesque gardens." Architectural Research Quarterly 15, no. 3 (2011): 261–69. http://dx.doi.org/10.1017/s1359135511000807.
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Towards the end of the eighteenth century, the discovery of Pompeii attracted European aristocrats to include the Kingdom of the Two Sicilies (Southern Italy) on their Grand Tour itinerary. Similarly, Sybaris, an ancient Greek colonial polis also directed aristocratic attention to the region. French painter and engraver Jean-Claude Richard de Saint-Non and his entourage of architects most famously documented the ruinous Sybaris and exported its imagery back to France. In parallel with these developments, interest in recreating sybaritic images within luxurious Picturesque gardens arose. Drawing upon a pair of garden case studies, Monsieur de Monville's Broken Column House (1780–81) at Désert de Retz, Chambourcy, and Queen Marie-Antoinette's hameau (1783) within the Petit Trianon Gardens at Versailles, this paper examines the sybaritic images, their influences and the ethical values of the creators of these gardens. Monville and Marie-Antoinette were, for instance, charged of excess. This paper is concerned with the way in which these sybaritic places were configured and how they encapsulated a mythic Sybaris, and argues that the charges of excess levelled against their creators partly stemmed from the unusual and sybaritic effects to be found at their private entertainment gardens.
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Jan Bok, Marten. "Het leven van de schilder Aelbert van der Schoor." Oud Holland - Quarterly for Dutch Art History 108, no. 2 (1994): 59–64. http://dx.doi.org/10.1163/187501794x00332.
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AbstractAelbcrt van der Schoor was born in or before 1603 in Utrecht. He was the oldest son of Laurens Lambertsz. van der Schoor, a gunsmith from 's-Hertogenbosch and his wife Bertgen Jans. The names of Van der Schoor's teachers are not known. Between 1621 and 1641 his name did not occur in any Utrecht documents. In 1652 the banns were posted for his marriage to Elisabeth Jacobs de Blom of Dordrecht. The wedding did not take place because the bride, afraid that the painter was only interested in her money, changed her mind. Van der Schoor sued for breach of promise, taking the case through all the courts. In 1654 the Supreme Court of Holland and Zeeland awarded him financial compensation in lieu of claims. Van der Schoor's last dated work was done in 1662. Shortly afterwards he was committed to the Utrecht house of correction and in 1666 was transferred to the asylum, where he was cared for at the city's expense. The last payment was recorded in September 1672. Van der Schoor must have died after that, but neither the place nor the date of his death is known.
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Hobeika, Léna. "Le mythe du vampire féminin dans Mademoiselle Christina." Studia Universitatis Babeș-Bolyai Philologia 66, no. 1 (2021): 63–70. http://dx.doi.org/10.24193/subbphilo.2021.1.05.
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"The Myth of the Female Vampire in Miss Christina. Mythologist, novelist and religious historian, Mircea Eliade grants a considerable place to the Fantastic as a way of reclaiming the Sacred in a deeply desecrated modern world. In his short story Mademoiselle Christina, he features a female vampire embodying the archetype of the nymphomaniac and demonic woman who returns to haunt the Mosco house and who manages to seduce Egor, a young painter visiting the castle. The prose writer creates a dreamlike story, mixing dream and reality, the natural and the supernatural while propelling the reader into a strange and captivating scenario. In this sense, it would be interesting to first study the poetics of the fantastic tale as well as its different mechanisms which contribute to creating a feeling of disturbing strangeness, ""the unheimlich"". Then we will analyze the erotic dynamics of the female vampire as well as its various symbolisms in order to finally offer a hermeneutical and mythical-symbolic approach to the work, where the reader will be led to decrypt the symbols and signs of the Sacred, camouflaged in reality. Keywords: fantastic, vampire, sacred, profane, hermeneutics "
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Friedman, Alice T. "A House in Town: 22 Arlington Street, Its Owners and Builders Peter Campbell William Kent: Architect, Designer, Painter, Gardener 1685-1748 Michael I. Wilson." Journal of the Society of Architectural Historians 46, no. 3 (1987): 306–7. http://dx.doi.org/10.2307/990246.
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Kravchenko, Oksana A. "“If I Were a Painter...” The Problem of Intermedial Contexts of Nikolay Gogol’s Novel Old World Landowners." Проблемы исторической поэтики 18, no. 2 (2020): 109–27. http://dx.doi.org/10.15393/j9.art.2020.8202.
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<p>The article analyzes the problem of the intermedial reading of Gogol's novel <em>The Old World Landowners</em>, presented by the animated film <em>He and She</em> by M.&nbsp;Muat. The novelty of the work is determined by the application of the method of a comprehensive analysis to the texts dialogically connected with each other. The extent of adequacy of the creative reading of Gogol's novel by a contemporary film director is determined by the semantic reconstruction of an idyllic chronotope of the novel. It is noticed that in the film limiting the history of main characters only by mutual relations within a circle of a manor house, Gogol's idea about the confrontation between family and home space and forces of chaos and destruction, is kept. The director's technique of a circular composition is an artistic factor that can be compared to the key &ldquo;moment&rdquo; in painting that condenses all previous and subsequent events. A figurative ring formed by the images of an old oak can be seen as a semantic analogue of the idyllic circle of the manor. However, if in the novel this circle is destroyed from the inside, in the film it is preserved and affirmed thanks to the creative efforts of the film director. The idyllic world of M.&nbsp;Muat is conscious of the &ldquo;evil spirit&rdquo; of destruction, but its mission is to keep the moment of peace, love and quiet happiness. The director, thus, asserts love as the supreme and permanent value of human existence. Not following literally the text of Gogol's novel, M.&nbsp;Muat offers his own reading of those laws that form the core of Gogol's artistic world.</p>
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Dirkse, P., and H. I. M. Defoer. "Het grafmonument van Jan van Scorel." Oud Holland - Quarterly for Dutch Art History 100, no. 3-4 (1986): 171–96. http://dx.doi.org/10.1163/187501786x00430.
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AbstractJan van Scorel was the only one of the painters of note of the I6th ard I7th centuries to whom an imposing monument was erected. He owed this not to his fame as a painter, but to his capacity as Canon of the Chapter of St. Mary's, Utrecht, an office conferred on him by Pope Adriaen vl in I628. The monument was already lost during the first stage of the demolition of the church in I712 and was known only from descriptions by Arnold Buchelius, notably that in his Monumenta of I592 (Note I), while the inscriptions on it are also mentioned by Van Mander (Note 2). The description in Buchelius' Monumenta is accompanied by a rough sketch (Fig. I), in the centre of which appears an empty tondo, where there is said once to have been a portrait of Scorel by Antonie Mor, the surround of which was in Bentheim stone. One of the texts is said to have been carved on the wall, the others on the floor. Carel van Mander also speaks of a portrait of Scorel painted by Mor in I560, two years before his death, and records the inscription on it. It is generally agreed that the portrait is that by Mor now in the Society of Antiquaries in London (Fig.2, Note 5). This still bears part of the text cited by Van Mander, while examination by infrared reflectography in 1977 revealed a further part ofit, the remainder presumably appearing on the frame (Note 6) . This examination also reavealed the date 1559. In I984 three fragments of Namur stone were unearthed from the garden of the Old Catholic Almoner's House on Mariahoek (Fig.3) . The fragmentary inscriptions on these proved them to be part of Scorel's tombstone, namely two pieces from the left side and one from the top right corner (Fig. 4). This find also proved that the interpretations of Buchelius' description as a wall monument in the Italian style with a sarcophagus under the portrait (Notes 7, 8), were incorrect and that it actually comprised a combination of a wall monument in Bentheim stone and a tombstone in Namur stone. Carved on the latter in low relief is a sarcophagus with vases at the corners and pilaster legs, which has an inscription between garlands at the top and gadrooning below. The sarcophagus rests on a base with a long inscription between two pilasters decorated with grotesques and on either side a putto with an inverted torch. The find proves that Buchelius' drawing is only a rough sketch and certainly not correct in every detail and the same must be true oj the surround of the tondo.
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Tovstolyak, Nadiya. "Vasyl Tarnovsky: New Materials for the Biography." Roxolania Historĭca = Historical Roxolania 1 (November 15, 2018): 195. http://dx.doi.org/10.15421/30180114.
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The article have been based on a little known and new documents about life and social activity Ukrainian patriot, philanthropist and museum worker V. V. Tarnovsky (1838–1899). He was born 180 years ago in Antonivka village of Poltavsky province. It was ascertain on a basis of correspondence Tarnovsky family and his friends: he got secondary education at Ennes boarding-school, studied at Main Engineer School in Sankt-Petersburg, and after than he graduated a historical philological deparment at Saint Volodymyr University in Kiev, but he hadn't final examinations. In 1857–1866 he was a manager in his father’s Estates, showed his enterprising abilities. V. V. Tarnovsky planed to build a separate house for his Museum, but it wasn’t sufficient money for it. It was be characterize the beginning of forming V. V. Tarnovsky Museum of Ukrainian antiques, its main departments and thematics. He collected T. G. Shevchenko Museum, M. I. Kostomarov Museum, P. O. Kulish Museum at the end of his life, he dreamed for Ukrainian Ossolineum. He created famous Kachanivka Park, it was his favourite work to plant a trees. V. V. Tarnovsky was a painter: he was the author of T. G. Shevchenko basrelief, Series decorative plates, his Museum exposition, drawing. The author consider that it necessary to publish V. V. Tarnovsky Museum of Ukrainian antiques Catalogues and Tarnovsky archive documents.
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Damsté, P. H. "De geschiedenis van het portret van Jaspar Schade door Frans Hals1." Oud Holland - Quarterly for Dutch Art History 99, no. 1 (1985): 30–42. http://dx.doi.org/10.1163/187501785x00035.
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AbstractOnly a few weeks after seeing the Frans Hals portrait of Jaspar Schade in the 1962 exhibition in Haarlem, the author came upon it again in the home of Mr. and Mrs. Waller in Utrecht (Figs. 1 and 2, Note I). He learnt that this particular painting had been in Mr. Waller's family for nearly a century and that it was a copy of the one now in Prague. The story was that the latter had been sold by Mr. Waller's grandfather Beukerfrom his country-house 'Zandbergen', which he had bought in 1865, to his friend P.E.H. Praetorius, on condition that the latter had a copy painted as a replacement. According to a written statement of 1934 by Mr. Waller's mother, the original by Frans Hals had always been at 'Zandbergen' and there was even a legend that the house would fall down, if it were removed. Her father, who was not interested in paintings according to the statement, had sold it to Praetorius at his request. The family had understood, erroneously as it turns out, that Praetorius had sold it on to Cologne and that it had later gone to America. In testing the truth of all this the author discovered first that the house is marked with the name of 'Den Heer Schade' on a map of the Utrecht area by Bernard de Roij published by Nicolaas Visscher in Amsterdam in 1696 (Fig.3, Note 4). The road on which it stands had been projected in 1652, Schade being one of those who acquired a parcel of land along it in return for laying that portion out, planting it and maintaining it and also building a side road on either side of his plot. Part of the agreement also was that he was exempted from paying taxes for 25 years. Schade (1623-,92), a member of a family of considerable standing, held various high offices in the church and province of Utrecht and was a delegate to the States-General in 1672. He was extremely rich and noted for his extravagant lifestyle, particularly as regards clothes (Notes 12-14). His house passed to his eldest son, who in 1701 left it to his brother-in-law Jacob Noirot. Between the latter, who sold it in 1740, and the Beuker family 'Zandbergen' (Fig. 4) had nine different owners. The museum in Prague acquired the portrait of Jaspar Schade in 1890 from Prince Liechtenstein, who had bought it in Paris on 14 March 1881 at the sale of the collection of John W. Wilson, an Englishman then living in Brussels. A. J. van de Ven tried without success to trace its history before that time (Note 18) and this was also unknown to Seymour Slive, although in his catalogue raisonné of Hals' work he mentions that it was shown at an exhibition of Wilson's collection in Brussels in 1873 (Note 20). In an article of the same year on Wilson's collection in the Gazette des Beaux-Arts Charles Tardieu remarked that Wilson had lived in Holland for thirty years and that his residence was obviously in Haarlem, from where the best pictures in his collection came. In his article on the portrait Van de Ven enlarged on the coals of arms on the frame, which were Schade's eight quarterings, but in an arbitrary order. The director of the Prague museum had told him that the frame was a 19th-century one and that the confusion had arisen during its making. A description of the frame in 1875 reveals that the arms were in their correct place then (Note 25), while the frame of the copy has the same arms in the right order, except that the left and right sides are transposed. Thus the present Prague frame must have been made after 1875, while the copy was presumably made and framed at the time the painting left 'Zandbergen'. John W. Wilson (1815-83) was born in Brussels of Thomas Wilsorz, who moved to Haarlem in 1833 and started a cotton factory there. John lived at Hillegom from 1856 to 1868, but after that moved back to Haarlem for a short time up to, but no later than 1870. He must have been very wealthy, as he also bought a lot of land in the area. How he acquired his collection of paintings is not known, as he appears to have kept it quiet until the exhibition of 1873. The catalogue of this covered 164 pictures; 76 of them, painted by 57 different artists, were of the Dutch School. Five pictures, all authentic, were by Frans Hals (Note 29). P.E.H. Praetorius (1791-1876, Fig.5) was a cousin of Beuker's. He moved from Haarlem to Amsterdam in or before 1829 and spent the rest of his life there. He was a broker and banker, an amateur painter and a great connoisseur of paintings, who played a prominent part in art societies in Amsterdam. He was also a member of the Supervisory Committee of the Rijksmuseum from 1844 and Chairman of its Board of Management from 1852 to 1875 (Note 33). His earliest paintings were copies of 17th-century works and he says in an appendix to his memoirs of 1869 that his last five works, done in 1865 and I 866, included a copy of Frans Hals' portrait of Willem van Heythuyzen. While it is clear that Jaspar Schade was the builder of 'Zandbergen', it is odd that the painting is never mentioned in any of the deeds of sale, detailed though these are. This suggests that it was so firmly fixed in its place - in the downstairs corridor over the door to the salon - as to be regarded as part of the fabric of the house. The price paid by Praetorius for the painting is not known, but he bought it at a period when Frans Hals' reputation had shot upwards again, after a long period of decline. This return to favour emerges clearly from Tardieu's comments, from the records of copyists in the Rijksmuseum (Note 37) and, of course, from Wilson's predilection. No evidence can be found of the painting's passing from Praetorius to Wilson, but the two must have known each other. The identity of the painter of the copy is also unknown. Mrs. Waller's statement mentions J. W. Pieneman, but he can be ruled out, as he died in 1853 and his son Nicolaas in 1860. The most likely candidate at the moment would seem to be Praetorius himself.
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Tanaka, Sukehiro. "The Ecclesiastical Courts in The Early Modern Southern Netherlands: A Quantitative Analysis." Pro Memorie 21, no. 1 (2019): 54–71. http://dx.doi.org/10.5117/pm2019.1.004.tana.
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Summary This contribution studies the cessio bonorum of painter Rembrandt van Rhijn in relation to the relevant rules and institutions of Amsterdam. I would first and foremost like to thank professor Eddy Put (KU Leuven), for repeatedly reading my drafts and providing me plenty of useful references and advice. Gerrit Vanden Bosch, Marie-Juliette Marinus, and Jos Van den Nieuwenhuizen kindly answered my many questions, and, needless to say, all the possible flaws are on my own responsibility. In conducting this research, I was supported by the Hitotsubashi University Foundation (Japan). In the Rembrandt case the procedural rules on the cessio bonorum were followed to a large extend. In regard to the beweysinge, a few weeks before the application for the cessio, it seems more convincing that it should be interpreted as a promise than as a conveyance of the house he owned. This new perspective on the beweysinge, however, does not alter the fact that it seems likely that there was a conflict between the Orphans Chamber (serving the interests of Titus) and the Insolvency Chamber (serving the interests of the creditors, and among them especially the former burgomaster Cornelis Witsen). Arguments for this are derived from: 1) the new bylaw issued by the Orphans Chamber shortly after Rembrandt’s application for the cessio, 2) the appointment of the renowned lawyer Louis Crayers as guardian of Titus (instead of Jan Verwout), and 3) the position of Titus’ preferential claim in the concursus creditorum. Crenshaw has stated that this conflict was decided by the personal influence of Cornelis Witsen. This contribution defends that Witsen only could enforce the sale of the house because of the institutional and political power structures within the city government. Witsen belonged to the powerful reigning faction of Cornelis de Graeff, whereas the majority of the officials in the Orphans Chamber belonged to the ‘political opposition’. In the end it was especially Witsen who profited from the sale (at the expense of Titus).
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Rofiq, Much. "PEMBELAJARAN DI MADRASAH IBTIDAIYAH DAPAT MENJADI SALAH SATU BASIS PEMBENTUKAN MANUSIA BERKARAKTER." As-Sibyan 3, no. 2 (2021): 21–36. http://dx.doi.org/10.52484/as_sibyan.v3i2.188.
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Recently, our society is covered with the feeling of anxious and restless without the tip of the base. It is related to the next generation (their children) especially about the thing related to their characters. The developments of science and technology that run so fast and tend to be uncontrollable have accelerated the development of children’s cognitive aspect, too. It made the affective aspect has been far left behind.
 The fact that nowadays many mothers who are working outside the house minimizes the opportunity to communicate with their children. That makes their children lack of affection, lack of guidance, and the warmth of their existence. This kind of condition encourages the children to seek their inner fulfillment by using provided social media without any guidance from their parents. 
 In essence, parents are the first and the primary educators for their own children. It is said that parents are the first educator for their children because the children come from families. From the beginning, parents should be responsible for fostering children’s character. If parents are rarely at home, it will never happen. The children will grow without the supervision and guidance from their parents. Furthermore, it is said that parents as the primary educators. It means that parents are the main painter of children’s character. Those two things I have mentioned above are the main characteristics of education in a family.
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Hewitt, Paul. "White Painted House." Physics Teacher 40, no. 5 (2002): 262. http://dx.doi.org/10.1119/1.1516373.
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Fumagalli, Maria Cristina. "“Not walled facts, their essence”: Derek Walcott’s Tiepolo’s Hound and Camille Pissarro." Journal of Commonwealth Literature 55, no. 3 (2018): 421–32. http://dx.doi.org/10.1177/0021989418803656.
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Life writing — a genre which goes beyond traditional biography, includes both fact and fiction, and is concerned with either entire lives or days-in-the-lives of individuals, communities, objects, or institutions — has always played an important role in Derek Walcott’s work. This body of work reaches from Another Life (1973),Walcott’s autobiography in verse, to his last play O Starry Starry Night (2014), where he re-imagines Paul Gauguin and Vincent Van Gogh’s (often tempestuous) cohabitation in the so-called “Yellow House” in 1888 Arles. In Tiepolo’s Hound (2000), Walcott’s life rhymes with that of the Impressionist painter Jacob Camille Pissarro, who was born in the Caribbean island of St Thomas in 1830. In this work, biographical and autobiographical impulses, fact and fiction, are productively combined, as “creation” (what “might have happened”) shapes Walcott’s life writing as much as “recreation” (what “actually” happened). Walcott’s Pissarro is an individual immersed in a set of historical networks. He is also a figure at the centre of a web of imagined relations which illuminate the predicament of present and past artists in the Caribbean region and the ways in which they articulate their vision vis-à-vis the metropolitan centre, their relationship with their social and natural environment, and their individual and collective identity. Tiepolo’s Hound is enriched by the inclusion of 26 of Walcott’s own paintings which engage in conversation with the poet’s words and add complexity to his meditation on the nature and purpose of (re)writing and (re)creating lives. Extending the catholicity of life writing to animals, in this case dogs and, in particular, mongrels, Tiepolo’s Hound also entails a careful, if counterintuitive, evaluation of anonymity.
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Fabiszak, Jacek, and Anna Ratkiewicz. "Romeo and Juliet in late-communist Poland: Deconstructing the myth of Shakespeare’s play." Journal of Adaptation in Film & Performance 14, no. 1 (2021): 31–40. http://dx.doi.org/10.1386/jafp_00040_1.
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Romeo i Julia z Saskiej Kępy (‘Romeo and Juliet from Saska Kępa’) is a Polish film from 1988, which showcases the idea(l) of true love in late-communist Warsaw. He (Leopold) is an alcohol-wasted, promising painter, she (Sabina) comes to Warsaw from the country and finds employment as a domestic help. They find their love space in a boiler-room in a ruined tenement house in the prestigious and elitist district of Saska Kępa in Warsaw. The film is an adaptation of Shakespeare’s play of sorts; although there are references to Shakespeare’s tragedy and parallels are more or less detectable, the film rather addresses the status of the play in the Polish culture of the late 1980s, in the context of the drab reality of Poland just before the transition in 1989 (not that it anticipates it). Thus, it can be possibly classified as what Sanders (2006) views as appropriation. Our aim is to explore the functioning and role of the Romeo and Juliet myth in the (popular) culture of decadent communist Poland and its treatment in Skórzewski’s film: how certain motifs from the play, especially those associated with the myth of ideal love, were developed in a modernized version of Shakespeare’s tragedy, thus reflecting certain topical problems, which the director addresses appropriating this myth. Rather than showing love between the two figures impossible due to the rivalry between two families/opposing groups, Skórzewski finds obstacles for such love in the drab reality of the late 1980s and social differences between the two lovers. The director makes them mature people, neither are they stunningly beautiful, nor living a comfortable life.
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Karaaslan, Muzaffer. "A Painted House In Ankara: Dedebayrak House." Journal of Ankara Studies 4, no. 1 (2016): 13–22. http://dx.doi.org/10.5505/jas.2016.46330.
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