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Journal articles on the topic 'Madonna of the fire'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Sperling, Jutta. "Squeezing, Squirting, Spilling Milk: The Lactation of Saint Bernard and the FlemishMadonna Lactans(ca. 1430–1530)." Renaissance Quarterly 71, no. 3 (2018): 868–918. http://dx.doi.org/10.1086/699605.

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AbstractThe focus on three drops of milk issuing from the Virgin’s breast in “The Virgin in Front of a Fire Screen” was inspired by contemporary representations of the Lactation of Saint Bernard. This latter iconography provides the visual context for the vivid address of eroticized depictions of the Madonna’s “one bare breast” in Flemish art and shows the intricate connections between visuality and materiality in fifteenth-century Flemish religious art. Some depictions of Saint Bernard’s lactation transform the Madonna’s jets of milk into rays of light aiming for his eyes, stressing the inter

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2

Bellucci, Roberto, Francesca Bettini, and Cecilia Frosinini. "Le botteghe medievali fra serialità e innovazione: la Madonna di Castelfiorentino e la Madonna di Crevole." Technè 58 (2025): 103–15. https://doi.org/10.4000/13c4i.

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L’articolo mette a confronto due opere cruciali per l’esame delle scuole fiorentina e senese della fine del Duecento: la Madonna di Castelfiorentino e la Madonna di Crevole. La prima è stata al centro del dibattito critico, fin dalla sua emergenza negli studi, all’inizio del Novecento, per la sua incerta collocazione attributiva fra Cimabue, Duccio di Buoninsegna e Giotto. Il confronto con la seconda, attestata stabilmente nell’area senese e nell’attribuzione a Duccio di Buoninsegna, ha stimolato, ancora una volta, il riesame della possibile collaborazione tra i tre grandi artisti. La lettura

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3

Bacci, Michele. "La Madonna della Misericordia individuale." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 171–95. http://dx.doi.org/10.5617/acta.5536.

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Il presente articolo riprende la questione, già ampiamente dibattuta, della diffusione pressoché contemporanea in diverse aree del Mediterraneo verso la fine del secolo XIII del tema iconografico della Madonna che stende un lembo del suo velo sopra una o più figure di supplicanti. Si propone di leggerlo come una versione in chiave individuale del tema noto come “Madonna della Misericordia” e di ricercarne le origini non tanto in une deviazione iconografica dalla tradizionearmena, bizantina o italiana, bensì in una sensibilità religiosa condivisa che vede nell’immagine sacra uno strumento di es

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4

Kovаrskaya, Yulia, and Natalia N. Arsentieva. "Ekphrastic Interpretation of the Madonna in A. Blok’s “Italian Poems”." Studia Litterarum 9, no. 4 (2024): 182–205. https://doi.org/10.22455/2500-4247-2024-9-4-182-205.

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The article analyzes the visual imagery in A. Blok’s “Italian Poems” through the lens of Renaissance humanism aesthetics. This perspective allows for an interpretation of the work as a transition from an expression of a crisis linked to the poet’s loss of the ideal of the Eternal Feminine to a new worldview. The cycle reflects a departure from Platonic ideals, incorporating motifs of the Renaissance idyll, such as the beauty of nature, corporeal objectivity, and Dionysianism. Under the influence of the fine arts of the Quattrocento, which profoundly impacted him during a journey to Italy in 19

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5

Maletić, Božana, and Matteo Pola. "Un’iscrizione inedita ed alcune note di topografia antica di Preko sull'isola di Ugljan." Archaeologia Adriatica 16 (December 27, 2022): 61–79. http://dx.doi.org/10.15291/archeo.3990.

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L’isola di Ugljan ha restituito le tracce di un importante passato, collegabile direttamente allo sviluppo del vicino centro urbano di Zara. Di primaria importanza risultano i resti della centuriazione, riconosciuti su tutta l’isola, e di diverse realtà insediative di tipo residenziale/produttivo di età romana (villae rusticae), tra cui spicca l’esempio ben noto di Muline. Un notevole complesso a carattere residenziale è stato individuato anche nell’abitato di Preko, con fasi di frequentazione dal II secolo fino ad inizi VI secolo. Durante un recente sopralluogo al cimitero della chiesa della

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6

Stramaglia, Massimiliano. "Queer and Fluid Culture and The Rights of The LGBTQ+ Community: Madonna, Lady Gaga and Elodie." EDUCATION SCIENCES AND SOCIETY, no. 2 (December 2023): 44–56. http://dx.doi.org/10.3280/ess2-2023oa16543.

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Il presente articolo analizza le condizioni di "minorità" e disuguaglianza alle quali è esposta, da millenni, la cultura "sessualmente divergente" rispetto al canone pattuito. L'analisi muove da una breve premessa di ambito pedagogico circa la costruzione sociale della "diversità" e si sviluppa approfondendo alcu-ni aspetti della cultura LGBTQ+ attraverso tre delle sue più grandi icone. Que-ste ultime, di differente età anagrafica (65, 37 e 30 anni) e con carriere artisti-che che si distribuiscono sugli ultimi 40 anni, possono ritenersi l'una l'erede dell'altra. L'intento è di dimostrare come

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7

Anderson, Joanne. "A Printed Icon in Early Modern Italy: Forlì’s Madonna of the Fire. Lisa Pon. Cambridge: Cambridge University Press, 2015. xiv + 288 pp. + 4 color pls. $99." Renaissance Quarterly 69, no. 3 (2016): 1051–52. http://dx.doi.org/10.1086/689065.

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8

Cann, George H., Anthony Bourached, Ryan-Rhys Griffths, and David G. Stork. "Resolution enhancement in the recovery of underdrawings via style transfer by generative adversarial deep neural networks." Electronic Imaging 2021, no. 14 (2021): 17–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-017.

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We apply generative adversarial convolutional neural networks to the problem of style transfer to underdrawings and ghost-images in x-rays of fine art paintings with a special focus on enhancing their spatial resolution. We build upon a neural architecture developed for the related problem of synthesizing high-resolution photo-realistic image from semantic label maps. Our neural architecture achieves high resolution through a hierarchy of generators and discriminator sub-networks, working throughout a range of spatial resolutions. This coarse-to-fine generator architecture can increase the eff

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9

Hilje, Emil. "Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića." Ars Adriatica, no. 4 (January 1, 2014): 213. http://dx.doi.org/10.15291/ars.496.

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A painting of the Virgin and Child, signed as “OPVUS P. PETRI”, from the former Fareham Collection (today at the Courtauld Institute of Art), has been known in the scholarly literature for a long time but has only been subject to tangential analyses. These studies attempted to attribute it to painters meeting relatively dubious criteria: that their name was Peter (Petar) and that they could be linked to the painting circle of Squarcione or, more specifically, to that of Carlo Crivelli with whose early works, especially the Virgin and Child (the Huldschinsky Madonna) at the Fine Arts Gallery in

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10

Bajnóczi, Bernadett, Géza Nagy, György Sipos, et al. "Material analysis and TL dating of a Renaissance glazed terracotta Madonna statue kept in the Museum of Fine Arts, Budapest." Journal of Cultural Heritage 33 (September 2018): 60–70. http://dx.doi.org/10.1016/j.culher.2018.03.015.

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11

Pichugina, Olga K. "To the question of the content, place and time of creation of the painting “Madonna and Child, Archangel Gabriel and young John the Baptist” from the collection of the Yekaterinburg Museum of Fine Arts." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 184–97. https://doi.org/10.17223/22220836/57/15.

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The article is devoted to the study of a painting by an unknown Italian artist of the turn of the XV-XVI centuries from the collection of the Yekaterinburg Museum of Fine Arts. The abundance of corrective records has significantly distorted the visual appearance of the work, which made it difficult to use the stylistic method of research. The content of the painting has a complex multicomposed character, in which three directions are well read. The Virgin Mary is depicted as the Madonna Humilitas. An important place is given to the theme of Holy Kinship. Finally, the presence of the Archangel

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12

Zvirgzdiņš, Indulis. "Ļaudona Agriculture School building designed by architect Indriķis Blankenburgs." History of Engineering Sciences and Institutions of Higher Education 2 (November 1, 2018): 92–99. http://dx.doi.org/10.7250/hesihe.2018.007.

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The construction plan of the Ļaudona Two-Year Agriculture School (1923) supposedly is the first project of an educational institution of the graduate of the Riga Polytechnic Institute (1913), architect Indriķis Blankenburgs (1877–1944). It was not a new building, but a reconstruction of the building after a fire, however, we can find some elements that had been used in the new buildings. The building was used for education for more than half-century. The article is devoted to the history of the building, also mentioning other buildings designed by I. Blankenburgs’ projects in Madona city.

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13

Sabău, Nicolae. "La beatissima Vergine del Carmine – icoana miraculoasă a bisericii catolice de pelerinaj de la Maria-Radna." Studia Universitatis Babeș-Bolyai Historia Artium 67, no. 1 (2022): 5–46. http://dx.doi.org/10.24193/subbhistart.2022.01.

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"La Beatissima Vergine del Carmine ‒ l’icona miracolosa della Chiesa cattolica di pelegrinaggio di Maria-Radna. Il presente articolo rappresenta un intervento scientifico di un’incontro tra la ricerca storico-documentaria, iconologica e iconografica del tema. Lo studio delle “Sacre icone miracolose” della Transilvania, delle regioni di Maramureș, Bihor e Banat hanno fatto, e fanno parte del programma di ricerca dell’autore da più di cinque decenni, aggiungendosi alla richissima bibliografia riguardante le icone miracolose che si trovano nelle chiese della Moldavia e Muntenia, menzionati dal ri

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14

Fioretti, Giovanna, Cinzia Campobasso, Giacomo Eramo, Alessandro Monno, and Gioacchino Tempesta. "On Devotional Artworks: A Non-Invasive Characterization of Pigments of the Madonna della Croce Wall Painting in Triggiano (Bari, Southern Italy)." Heritage 6, no. 5 (2023): 4263–81. http://dx.doi.org/10.3390/heritage6050225.

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Devotional artworks represent a valuable form of art, as they are evidence of religious worship and the demo-ethno-anthropological, as well as historical-artistic, heritage of a community, which is why they definitely belong to the cultural identity of a geographic area. The Madonna della Croce wall painting is an example of devotional art preserved today in the homonymous church in Triggiano (Bari, Italy). The presented study concerns the characterization of pigments used in the painting. The identification of pictorial materials had the aim of providing a contribution to knowledge about the

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15

Campione, Ivo, Francesca Lucchi, Nicola Santopuoli, and Leonardo Seccia. "3D Thermal Imaging System with Decoupled Acquisition for Industrial and Cultural Heritage Applications." Applied Sciences 10, no. 3 (2020): 828. http://dx.doi.org/10.3390/app10030828.

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Three-dimensional thermography is a recent technique—with various fields of application—that consists of combining thermography with 3D spatial data in order to obtain 3D thermograms, high information objects that allow one to overcome some limitations of 2D thermograms, to enhance the thermal monitoring and the detection of abnormalities. In this paper we present an integration methodology that can be applied to merge data acquired from a generic thermal camera and a generic laser scanner, and has the peculiarity of keeping the two devices completely decoupled and independent, so that thermal

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16

Pieronek, Tadeusz. "Kongresy eucharystyczne w praktyce pastoralnej Kościoła." Prawo Kanoniczne 31, no. 1-2 (1988): 43–52. http://dx.doi.org/10.21697/pk.1988.31.1-2.04.

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Durante il terzo pellegrinaggio in Polonia del papa Giovanni Paolo II si svolgerà il II Congresso Eucaristico Nazionale. Gli iniziatori dell’idea dei Congressi furono persone (tra le altre Signorina Tamisier e San Pietro Eymard), la cui spiritualità era caratterizzata da spirito di penitenza, devozione alla Madonna ed al Sacro Cuore di Gesù. Ë sintomatico il fatto che questa idea sia nata tra i cattolici laici in Francia alla fine del XIX secolo. I primi Congressi ebbero luogo in Francia, ma dopo aver ottenuto l’appoggio della Santa Sede si diffusero in tutti continenti, cosi che nel 1985 si e

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17

Jaffe, Harold. "Madonna." Performing Arts Journal 10, no. 3 (1987): 17. http://dx.doi.org/10.2307/3245449.

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18

Dittberner-Jax, Norita. "Madonna." Frontiers: A Journal of Women Studies 13, no. 2 (1993): 45. http://dx.doi.org/10.2307/3346717.

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19

Allen, Steve. "Madonna." Journal of Popular Culture 27, no. 1 (1993): 1–12. http://dx.doi.org/10.1111/j.0022-3840.1993.1654646800.x.

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20

Berry, Valerie. "Madonna." JAMA: The Journal of the American Medical Association 257, no. 19 (1987): 2642. http://dx.doi.org/10.1001/jama.1987.03390190120035.

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21

Prstačić, Miroslav. "Museum of Charms and Fetish Objects in Nigeria." Collegium antropologicum 46, no. 2 (2022): 159–72. http://dx.doi.org/10.5671/ca.46.2.11.

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On the assumption, upon which perception may be considered as an associative integration of available memory pictures or archetypes as universal thought forms, the deep ecological, cross-cultural and holistic approach is conceived for two complementary areas of research: 1) contemplations about the anthropological traits of imagination, symbolic meanings of museum objects, culture, archetype image symbols and induced associations; 2) meditation on the notion of man in the language and culture of Igbo people in Nigeria, and group visual art expression. These contents are discussed with referenc

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22

Zuck, Virpi, and Eira Stenberg. "Parrakas madonna." World Literature Today 59, no. 1 (1985): 132. http://dx.doi.org/10.2307/40140751.

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23

LLOYD, ED FRAN, and IAN MCKAY. "DECONSTRUCTING MADONNA." Art Book 1, no. 1 (1994): 15–16. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00078.x.

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24

Bulow, Peter M. "Alzheimer’s Madonna." American Journal of Psychiatry 165, no. 3 (2008): 334. http://dx.doi.org/10.1176/appi.ajp.2007.07111709.

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25

Weems, Mary E. "Black Madonna." Cultural Studies ↔ Critical Methodologies 8, no. 2 (2008): 246–47. http://dx.doi.org/10.1177/1532708607310786.

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26

Kelso, Julie. "Irigaray’s Madonna." Feminist Theology 23, no. 2 (2015): 171–85. http://dx.doi.org/10.1177/0966735014555636.

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27

Treseler, Heather. "Blue Madonna." JAMA 323, no. 20 (2020): 2099. http://dx.doi.org/10.1001/jama.2020.1813.

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28

Southgate, M. Therese. "Madonna II." JAMA 298, no. 24 (2007): 2832. http://dx.doi.org/10.1001/jama.298.24.2832.

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29

Kahalon, Rotem, Orly Bareket, Andrea C. Vial, Nora Sassenhagen, Julia C. Becker, and Nurit Shnabel. "The Madonna-Whore Dichotomy Is Associated With Patriarchy Endorsement: Evidence From Israel, the United States, and Germany." Psychology of Women Quarterly 43, no. 3 (2019): 348–67. http://dx.doi.org/10.1177/0361684319843298.

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The madonna-whore dichotomy denotes polarized perceptions of women as either good and chaste or as bad and promiscuous. In the present research, we examined the correlates of madonna-whore dichotomy among samples of heterosexual Israeli, U.S., and German women and heterosexual U.S. and German men. Demonstrating cross-cultural generalizability, madonna-whore dichotomy endorsement correlated with endorsement of patriarchy-supporting ideologies across samples. U.S. (but not German) men’s madonna-whore dichotomy endorsement negatively correlated with their sexual satisfaction in romantic relations

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30

Osadcha, O. A. "Strategies of Representing Christian Imagery And Motives in the Art of Kharkiv in the Late Soviet Period." Culture of Ukraine, no. 71 (April 2, 2021): 100–110. http://dx.doi.org/10.31516/2410-5325.071.13.

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The aim of the study is to define the multiplicity and specificity of the approaches of the Kharkiv artists of the 1960s — 1980s to the visualization of Christian imagery and motives. Research methodology is based on the combination of general scientific methods of systematization, classification, synthesis, and specialized ones, related to the field of art history, namely formal and comparative, iconological and compositional analysis. Results. The paper is focused on the specificity of functioning of the religious theme in the fine art of Kharkiv of the 1960s — 1980s. It’s emphas

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31

Lis, Marek. "Kieślowski, the mysteries of screens and God." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (2019): 9–18. http://dx.doi.org/10.14746/i.2018.33.02.

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The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, 1987/88, prem. 1989, dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promi

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32

Wilmot, Jeanne. "Madonna: A Story." Antioch Review 46, no. 2 (1988): 242. http://dx.doi.org/10.2307/4611877.

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33

Watson. "Unimagining the Madonna." Journal of Feminist Studies in Religion 30, no. 2 (2014): 132. http://dx.doi.org/10.2979/jfemistudreli.30.2.132.

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34

Paglia, Camille, and Mark Bego. "Madonna: Blonde Ambition." Notes 50, no. 1 (1993): 88. http://dx.doi.org/10.2307/898695.

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35

Steinberg, Rachel. "The Madonna Painter." Ecumenica 3, no. 1 (2010): 73–74. http://dx.doi.org/10.5325/ecumenica.3.1.0073.

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36

Reger, Will. "Mass Transit Madonna." Dialogue: A Journal of Mormon Thought 45, no. 2 (2012): 117. http://dx.doi.org/10.5406/dialjmormthou.45.2.0117.

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37

Zatlin, Phyllis, Fernando Arrabal, and Lynne Alvarez. "The Red Madonna." Theatre Journal 39, no. 4 (1987): 517. http://dx.doi.org/10.2307/3208260.

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38

Gerein, James, and Britt Holmström. "The Wrong Madonna." World Literature Today 77, no. 3/4 (2003): 95. http://dx.doi.org/10.2307/40158220.

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39

Bullock, S. "Madonna and Child." English 55, no. 212 (2006): 207. http://dx.doi.org/10.1093/english/55.212.207.

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40

CAMPBELL, KATIE. "Madonna Del Parto." Critical Quarterly 34, no. 3 (1992): 23. http://dx.doi.org/10.1111/j.1467-8705.1992.tb00426.x.

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41

Harskamp, Jaap. "Madonna or Magdalen." Dutch Crossing 16, no. 46 (1992): 47–61. http://dx.doi.org/10.1080/03096564.1992.11783975.

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42

Foster, David William, and Enrique Medina. "Buscando a Madonna." World Literature Today 61, no. 4 (1987): 607. http://dx.doi.org/10.2307/40143818.

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43

Latocha, Sebastian. "Madonna. Dolores popkultury." Konteksty Polska Sztuka Ludowa 344, no. 1-2 (2024): 284–90. http://dx.doi.org/10.36744/k.3171.

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Przedmiotem tekstu są dwa subwersyjne cykle fotograficzne z Madonną w roli głównej: w pierwszym artystka cierpi jak Mater Dolorosa, w drugim organizuje Ostatnią Wieczerzę. Autor bada subwersyjne zdjęcia Madonny jako przykład dyskursu słabych, stosując Foucaultowskie pojęcie przeciw-historii jako narzędzie analizy i interpretacji. Jaką historię opowiada nam Madonna, która wychodzi z cienia? Dlaczego ikona popkultury ingeruje w wielkie tematy sztuki chrześcijańskiej oraz typy ikonograficzne, które utrwalają i porządkują naszą wiedzę o tym, co stało się między Wielkim Czwartkiem a zdjęciem z krzy

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44

Torpy, Janet M. "Madonna and Child." JAMA 304, no. 24 (2010): 2672. http://dx.doi.org/10.1001/jama.2010.1767.

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45

Sperling, Jutta. "The Anachronic Madonna Lactans: Impersonations of the Nursing Virgin by Cindy Sherman, Catherine Opie, and Vanessa Beecroft." Zeitschrift für Kunstgeschichte 84, no. 3 (2021): 408–40. http://dx.doi.org/10.1515/zkg-2021-3005.

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Abstract This article examines Cindy Sherman’s Untitled #216 (1989), Catherine Opie’s Self-Portrait/ Nursing (2004), and Vanessa Beecroft’s White Madonna or VBSS.002 (2006) in relation to the medieval and Renaissance artworks these photos quote and re-instantiate: Jean Fouquet’s Virgin of Melun (1452–1455); Ambrogio Lorenzetti’s Madonna del Latte (1325–1335) and Leonardo da Vinci’s Litta Madonna (1490s); and Tino di Camaino’s Charity (1321) and Jan van Eyck’s Lucca Madonna (1436), respectively. This juxtaposition — framed by reference to Alexander Nagel’s and Christopher Wood’s concept of “ana

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46

Lykhochvor, V., and M. Andrushko. "Pea productivity depending on variety and sowing rate." UKRAINIAN BLACK SEA REGION AGRARIAN SCIENCE 106, no. 2 (2020): 54–62. http://dx.doi.org/10.31521/2313-092x/2020-2(106)-6.

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It is proved that in conditions of sufficient moisture in the western forest-steppe, the highest grain yield is formed by Madonna variety peas – 6.38 t / ha, the smaller one by Gotivsky variety – 6.13 t / ha and the smallest one by Ataman variety- 5.94 t / ha. The Madonna variety also has the highest protein content of 24.5%, and the Gotivsky variety – 23.9%. the Ataman variety – 22.4%. It was established that the economically reasonable sowing rate for Madonna variety is 1.0 million / ha, for Ataman one is1.1 million / ha, for Gotivsky one is1.2 million / ha. It was revealed that the greatest

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47

Romano, Franca. "La Madonna Pellegrina Apparizione della Madonna della Pace a Carpi, 1984." La Ricerca Folklorica, no. 33 (April 1996): 125. http://dx.doi.org/10.2307/1480102.

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48

Lazzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "“Madonna of the Pinks” and “Madonna Dell’Impannata”: Raphael Sanzio (1483–1520)." Journal of Endocrinological Investigation 41, no. 12 (2018): 1487–88. http://dx.doi.org/10.1007/s40618-018-0896-y.

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49

Imta Kayeki, Najwa Salsa Bila Wijaya, and Eva Dwi Kurniawan. "Kajian Teori Psikologis Fenomena Madonna-Whore Complex Dalam Buku Cantik Itu Luka Karya Eka Kurniawan." Jurnal Motivasi Pendidikan dan Bahasa 2, no. 1 (2024): 110–18. https://doi.org/10.59581/jmpb-widyakarya.v2i1.2672.

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Abstract:

This study aims to determine the phenomenon of the Madonna Whore Complex in the beautiful book Luka. The Madonna Whore Complex is a psychological theory proposed by the father of psychology, Sigmund Freud. In this theory, humanitas are separated into two kinds, namely, madonna, which means holy, love, and asexual. While whore, which means sexual, lust, and broken, People with this complex compartmentalize their partners into two camps: those who are considered to be lustful and life partners. This is due to the split between the flow of affection and the sexual flow in male desire. This phenom

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Wylie, Diana, and Zakes Mda. "The Madonna of Excelsior." International Journal of African Historical Studies 37, no. 2 (2004): 389. http://dx.doi.org/10.2307/4129033.

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