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Journal articles on the topic 'Published sculpture'
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1
Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.
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Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.
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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.
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Zaluhi, Nor Zafharina, Ramlan Abdullah, and Khairi Shamsudin. "Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture." Environment-Behaviour Proceedings Journal 6, SI5 (2021): 131–35. http://dx.doi.org/10.21834/ebpj.v6isi5.2938.
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The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculptures reflecting mystical elements. Keywords: Forms, Mystical, Sculpture, Sape’ eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2938
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Sparkes, Brian A. "Greek Bronzes." Greece and Rome 34, no. 2 (1987): 152–68. http://dx.doi.org/10.1017/s0017383500028102.
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When I first began to study Greek art, back in the mid 1950s, a book on Greek sculpture had recently been published in Germany and in England that did much to encourage my interest. It was Reinhard Lullies and Max Hirmer's big picture book, Greek Sculpture, since enlarged and running into three German and two English editions. Its basic idea was not totally novel but was rare for its time and never previously done so well. It presented large, clear photographs of original Greek works (by Hirmer) with a scholarly commentary to each piece (by Lullies); it omitted anything that was known, or considered, not to be original. In doing so, it provided a strong contrast to the sort of book with which I had already come into contact, the sort best characterized perhaps by Ernest Gardner's Six Greek Sculptors of 19252which contains not one single original piece by the six chosen sculptors and in which all the photographs are seen through a glass darkly. Gardner's title and approach, with heavy emphasis on literary evidence and Roman copies, accompanied by a sprinkling of original, unattributed pieces for ballast, was typical of a traditional line of study-that of Kopienkritik, an approach not dead yet by any means and in fact one which must continue to be pursued, though nowadays it is tackled with more caution than earlier. But until one incontrovertible example of a named sculptor's work is found, all attributions must be arguable approximations.
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Bajda, Justyna. "Między studium a punctum. Spotkania ze sztuką w poetyckiej twórczości Stanisława Ledóchowskiego." Prace Literackie 58 (April 28, 2020): 299–313. http://dx.doi.org/10.19195/0079-4767.58.25.
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This article discusses ekphrases of the poet, sculptor, stage designer, and art critic Stanisław Ledóchowski, which were published in 2013 in his volume of poetry Liście od Krakowa and in several bibliophile editions of his individual works.
 The discussion concerns poems dealing with three forms of art: architecture, sculpture, and painting. Poetic interpretations of works of art were placed in the context of the terms studium and punctum introduced by Roland Barthes to describe the method of finding meaning in art on two levels. The studium concerns generally available cultural context, while the punctum is an often-in-timate encounter of the viewer with an artistic work, which not only reveals the specific aesthetic awareness of the poet but also his individual sensitivity.
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Raev, Ada. "Georg Kolbe: Russian Impressions." Experiment 23, no. 1 (2017): 267–85. http://dx.doi.org/10.1163/2211730x-12341315.
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Abstract The article describes German sculptor Georg Kolbe’s two direct engagements with Russia and its culture in the early twentieth century. The first, brief but fruitful, encounter, in 1912, the same year that Kolbe’s bronze sculpture Tänzerin (Female Dancer) was purchased by the National Gallery, was with Diaghilev’s Ballets Russes, who had returned for a second visit to Berlin. Kolbe received Vaslav Nijinsky and Tamara Karsavina in his studio; photographs and drawings of the two star dancers served as inspiration for works such as Tänzer (Dancer) and the Heinrich Heine monument in Frankfurt am Main, and also strengthened Kolbe’s interest in modern dance. The second opportunity came in 1932, when Kolbe, as a successful and established sculptor, was invited to tour the Soviet Union. In 1933, Kolbe published a brief account of his travels under the title “In einem anderen Land” (In another country); his observations, enriched with picturesque details, convey a feeling of empathy for the host country and its inhabitants. Only once does Kolbe admit to a certain discomfort with regard to the atmosphere in the Stalinist Soviet Union.
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van Hensbergen, Claudine. "Print, poetry and posterity: Grinling Gibbons’s statue of Charles II for the Royal Exchange." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (2020): 313–36. http://dx.doi.org/10.3828/sj.2020.29.3.5.
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Grinling Gibbons’s statue of Charles II for the courtyard of the Royal Exchange, London, was unveiled in 1684 and quickly celebrated as the leading public sculpture of its age. Within a century, however, the work was so damaged that it was replaced by John Spiller’s replica. Scholarly interest in Gibbons’s accomplishments in stone have always been overshadowed by attention to his limewood carvings, even though stone works constituted at least half of his professional output. This article reconstructs the design and importance of the Charles II statue through a series of early cultural responses to the work, including a detailed engraving by Peter Vanderbank and three published poems. These works allow us to appreciate the skill of this key sculptural output from the Gibbons workshop, viewing it through contemporary ideas of aesthetic and propagandistic value, in addition to perceiving the prominence it once held in London’s cityscape.
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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.
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Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.
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Lukesh, Susan S., and R. Ross Holloway. "The non-fraud of the Middle Bronze Age stone goddess from Ustica: a reverse Piltdown hoax." Antiquity 76, no. 294 (2002): 974–79. http://dx.doi.org/10.1017/s0003598x0009178x.
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The authors examine claims that the sole surviving example of relief sculpture from the Middle Bronze of Italy or Sicily, discovered in the excavations on the island of Ustica in 1991, is a forgery that was deliberately planted on the site. Their refutation is based on examination of the photographic evidence that has been published in support of these claims.
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Wang, Yi-Ting. "Total Environment (Sculpture) as a Symbology: The Mesological Study of the Axe Majeur in Cergy-Pontoise." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 45. http://dx.doi.org/10.25038/am.v0i19.318.
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In Cergy-Pontoise, the artist Dani Karavan is commissioned to conceive the three-kilometer linear path named Axe Majeur (Main Axis), connecting the city center and the vast riverside. Instead of a work of art to contemplate, Karavan builds 12 stations in succession and in the form of instruments with which people are equipped to measure and to process the existent environmental data and to find their own interpretation of the site. By making factual information measurable and translatable into cultural connotations, Karavan’s work implies a mesological point of view from which osmosis between the sculpture and the site invalidates the opposite physical/phenomenal. The paper studies this method based on the notion mediance proposed by the geographer Augustin Berque and on a field survey. Two principles constitute the method: First, Karavan invents a sculptural metrology functioning in the way of the perceptive calibration system. Secondly, the Axe Majeur shows a “total environment” which means not only 12 parts as a single unit but also the inseparable relationship of Karavan’s environment (art) with the whole geographical environment. Each part annotates the signs left behind after Earth’s motion (e.g. topography, geothermal energy) and after cultural activities (e.g. orchard, view of Paris) and turns these signs into the basis on which imagination could be formed and new meaning could arise. By articulating historical and spatial dimension with an environmental symbology, the Axe Majeur constitutes an innovative urban planning method which moves away from an international-vernacular (modernism) or historical-ahistorical (postmodernism) debate. Article received: April 2, 2019; Article accepted: May 25, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Wang, Yi-Ting. "otal Environment (Sculpture) as a Symbology: The Mesological Study of the Axe Majeur in Cergy-Pontoise." AM Journal of Art and Media Studies 19 (2019): 45-58. doi: 10.25038/am.v0i19.318
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Ballard, Susan, and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." Anthropocene Review 6, no. 1-2 (2019): 142–61. http://dx.doi.org/10.1177/2053019619839443.
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Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
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Magomedov, Amirbek Dzhalilovich. "FROM THE HISTORY OF ART SCULPTURE OF THE VILLAGE OF KUBACHI." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 80–87. http://dx.doi.org/10.31029/vestiyali21/14.
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The attitude of Islam to the visual arts is an insufficiently explored topic. The article by an orientalist O. G. Bolshakov on this topic, published a long time ago, is well known to researchers. In recent decades, due to re-Islamization, this topic has attracted increased public attention. So in 1997 in Dagestan, due to the position of the clergy of the republic, a monument to the leader of the national liberation movement of Dagestan Imam Shamil was not erected in Dagestan. The task is to study the history and practice of implementing such bans. The article attempts to identify the causes of damage to the sculptural images of living beings, known from medieval art of Kubachi. The researchers expressed different points of view on the causes and time of their damage. We want to present one of the points of view on these events.
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Hlushko, Mariia. "Representation of Emmanuil Mysko's works on the pages of art magazines." Bulletin of Lviv National Academy of Arts, no. 40 (July 26, 2019): 38–45. http://dx.doi.org/10.37131/2524-0943-2019-40-5.
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This paper analyzes art magazines and other periodicals in the context of the presentation of works by the famous sculptor Emmanuil Mysko, who holds a special place in the fine arts of Ukraine. The research material provides a brief overview of publications in art magazines and other periodicals that thoroughly acquaint the reader with the formation and evolution of Emmanuil Mysko's creative path. The focus is made on a holistic analysis of articles by art historians describing the artist's work, as well as publications containing only specific references to him. A number of well-known national art magazines, newspapers, newsletters, etc. covering the cultural and artistic events were selected for the study, namely, the magazine of the National Union of Artists of Ukraine "Fine Arts", "Art" magazine, "Free Ukraine" newspaper, Bulletin of the Lviv National Academy of Arts , "People's Notebooks", "Art Horizons" and others. The study outlines a number of trends regarding the presentation of material about Emmanuil Mysko, through which it can be argued that each of the authors tried to highlight as much as possible the key aspects of Emmanuil Mysko's activity in the field of monumental and decorative sculpture and to emphasize his contribution to the development of Ukrainian art. It is revealed that the talent, pedagogical and social activity, human qualities of Emmanuil Mysko and its impact on culture and art, have not been neglected by national scientists, art historians, researchers who in their works published on pages of art magazines and other periodicals describe various aspects of the life and work of a prominent Ukrainian sculptor, art critic, teacher, public figure Emmanuil Mysko. The need to create a structured bibliographic index has been identified, which will contain a complete list of articles on E. Mysko published since 1996, since the Bibliographic Index was published by that year. Also the main provisions and conclusions of the article can be used in the formation of the relevant sections of the new Bibliographic Index, which will become a basis for young researchers who will study the work of E. Mysko.
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Adrain, Jonathan M. "A new otarionine trilobite from the Henryhouse Formation (Silurian, Ludlow) of Oklahoma." Journal of Paleontology 70, no. 4 (1996): 611–14. http://dx.doi.org/10.1017/s0022336000023581.
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Cyphaspis wessmani new species is a morphologically aberrant taxon from the Ludlow Henryhouse Formation of south-central Oklahoma. Its long, scoop-shaped cephalic border is without close comparison in the family Aulacopleuridae, but its possession of eleven thoracic segments with an axial spine on the sixth, an inflated glabella with tiny L1 and dorsal tuberculate sculpture, a prominently expressed bilobate eye socle, and a micropygous pygidium all support assignment to Cyphaspis. The genus is common in Silurian rocks from most parts of the world, but C. wessmani is the first published record from southern Laurentia.
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Squire, Michael. "Art and Archaeology." Greece and Rome 67, no. 1 (2020): 103–13. http://dx.doi.org/10.1017/s0017383519000299.
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‘An anonymous product of an impersonal craft’: that is how Rhys Carpenter characterized Greek sculpture in 1960, and it's an assessment that has long dominated the field. Carpenter was challenging the traditional workings of classical archaeology, not least its infatuation with individual ‘masters’. While responding to past precedent, however, his comments also looked forward in time, heralding a decidedly postmodern turn. From our perspective in 2020, six decades after his book was first published, Carpenter can be seen to anticipate what Roland Barthes would dub the ‘death of the author’: ‘the birth of the reader must be ransomed by the death of the author’, as Barthes put it.
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Szkudlarz, Piotr, and Zbigniew Celka. "Morphological characters of the seed coat in selected species of the genus Hypericum L. and their taxonomic value." Biodiversity Research and Conservation 44, no. 1 (2016): 1–9. http://dx.doi.org/10.1515/biorc-2016-0022.
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Abstract Eight Hypericum species are native to Poland: H. elegans Stephan ex Willd., H. hirsutum L., H. humifusum L., H. maculatum Crantz, H. montanum L., H. perforatum L., H. pulchrum L., and H. tetrapterum Fr. Only seeds of H. elegans were investigated in detail in Poland before, so here we present results of qualitative and quantitative analyses of seed morphology of the other 7 species, based on characters like seed length, width, and shape, seed coat sculpture, shape of epidermal cells of the testa, and number of epidermal cells along the seed axis. The results show that seeds of the studied species are small, 0.56-1.15 mm long and 0.26-0.49 mm wide. In SEM images, seed coat sculpture is reticulate in 5 species, papillate in H. hirsutum, and cup-shaped in H. pulchrum. The differences are caused by the varied final development of the testa epidermis, which constitutes the outer layer of the seed coat. The mean number of epidermal cells along the seed axis ranges from 22 to 33. Results of cluster analysis, based on the agglomeration method and including also published data on seeds of H. elegans, show that the variation in the investigated characters of seeds is reflected in the taxonomic division of the genus into sections.
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Vout, Caroline. "Winckelmann and Antinous." Cambridge Classical Journal 52 (2006): 139–62. http://dx.doi.org/10.1017/s175027050000052x.
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The credit for inventing the scientific study of Greco-Roman sculpture still belongs to the German scholar, Johann Joachim Winckelmann. The reason for this, the Geschichte der Kunst des Alterthums or History of the Art of Antiquity, was first published in Dresden in 1764 and supplemented in 1767 by the Anmerkungen über die Geschichte der Kunst des Alterthums or Further Remarks. So important was the project that Winckelmann was revising it when he was murdered a year later. This evolving version was published in Vienna in 1776. It is this amended Geschichte that formed the basis of influential French and Italian editions. These followed quickly, propelled perhaps by the interest generated by his murder. Though it was another hundred years before the text was translated into English, its impact has been extraordinary. Vestiges of the book are everywhere. Citations from the ‘final’ version permeate the literature. Even without opening it, we sense its influence on the field we call ‘Classical Art’.
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Павлова, Анна Леонидовна. "Little Known Russian Church Wooden Sculpture Works of 18th-19th Centuries." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 93–109. http://dx.doi.org/10.31802/2658-5111-2020-1-2-93-109.
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Во время экспедиций по программе Свода памятников выявляется довольно много церковной скульптуры. Однако деревянная пластика рассеяна по разным томам Свода, а краткие тексты и отсутствие достаточного числа фотографий не позволяют судить о характере найденных произведений. В сложившихся условиях возрастает необходимость отдельной статьи, специально посвящённой неизвестным ранее скульптурам. Основная часть произведений, приведённых в статье, находится в храмах Владимирской, Рязанской, Тверской и Калужской областей. Практически все они впервые вводятся в научный оборот. Изучение данной скульптуры расширяет представление о развитии не только церковного, но всего отечественного искусства Нового времени. Публикуемые памятники отражают разнообразные стилистические направления, технические и художественные приёмы мастеров Центральной России, несмотря на общность процессов искусства в России того времени. Одной из основных задач публикации стало стремление внести ясность в многообразие направлений регионального искусства, что может способствовать более точной атрибуции. Среди богатства направлений условно выделяются несколько основных, зачастую связанных между собой и пронизанных древнерусскими реминисценциями, - тяготеющее к примитиву, барочное и классицистическое. В статье приводятся шесть Распятий и три Усекновенные главы Иоанна Предтечи, каждая из которых по-своему уникальна и заслуживает отдельного исследования в будущем. Знакомство с данными памятниками русского резного искусства даёт возможность провести параллели с широко известными произведениями. In the course of the expeditions undertaken within the Code of monuments project many works of church sculpture were revealed. However, the plastic arts pieces are dispersed over the different volumes of the Code, moreover, the short descriptive texts and the lack of sufficient number of photographs do not allow us to properly estimate the significance of the works found. This situation necessitates a special paper devoted to the previously unknown sculptures to be prepared. The main part of the works described in the paper is from the churches of Vladimir, Ryazan, Tver and Kaluga regions. Practically all of them are introduced for scientific use for the first time. The study of the sculptures broadens our knowledge about the development not only of the church art but of the whole Russian art of New time. The monuments being published reflect different stylistic trends, the technical and artistic devices of the Central Russia masters despite the common character of the artistic processes in Russia of that time. One of the major tasks of the publication is striving to put in order the regional art trends diversity that is to provide for the more exact attribution. Within the wealth of stylistic trends it is possible to conditionally distinguish several basic ones - those next to primitivism, in baroque and classicistic - often closely associated with each other and all permeated with the Old Russian reminiscences. There are six Crucifixions and three Heads of St. John the Forerunner described in the paper each of which is unique in its own way and deserves a separate study in future. Getting to know the introduced monuments of the Russian carved arts makes it possible to draw a parallel between them and well-known works of art.
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Meyer, Harry A., Martha Tsaliki, and Juliana G. Hinton. "First records of water bears (Phylum Tardigrada) from Swaziland." African Invertebrates 59, no. 1 (2018): 47–53. http://dx.doi.org/10.3897/afrinvertebr.59.23191.
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There are no published records of water bears (Phylum Tardigrada) from Swaziland. Two samples of foliose lichen collected in 2010 contained nine tardigrade specimens and one egg belonging to five genera and seven species: Echiniscuscf.quadrispinosus,Milnesiumsp., Milnesiumcf.bohleberi, Hypsibiuscf.convergens,Ramazzottiussp., Macrobiotuscf.pallarii andMinibiotusharrylewisi. Milnesiumsp. resemblesMilnesiumlagniappe, a species from southeastern USA, in its cuticle, and possibly in the number of peribuccal lamellae. Specimens from Lesotho and South Africa previously identified asMilnesiumtardigradumare in fact Milnesiumcf.bohleberi. The habitus ofRamazzottiussp. is consistent withR.theroni, a southern African species, but due to the condition of the specimen the presence of cuticular sculpture cannot be definitively ruled out. Macrobiotuscf.pallarii differs fromM.pallariisensu strictoin some structural details of the egg processes. This is the first record ofMinibiotusharrylewisioutside of its type location in KwaZulu-Natal, South Africa.
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Fox, Andrew S., Scott R. Shaw, Lloyd M. Dosdall, and Byron Lee. "Microctonus melanopus (Ruthe) (Hymenoptera: Braconidae), a Parasitoid of Adult Cabbage Seedpod Weevil (Coleoptera: Curculionidae): Distribution in Southern Alberta and Female Diagnosis." Journal of Entomological Science 39, no. 3 (2004): 350–61. http://dx.doi.org/10.18474/0749-8004-39.3.350.
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Microctonus melanopus (Ruthe) were reared and dissected from adult cabbage seedpod weevil, Ceutorhynchus obstrictus (Marsham), collected in southern Alberta in 2000 and 2001, and M. melanopus females were collected near Creston, British Columbia in 2001. These collections represent the first records for this European species in Canada. Previously published records of M. melanopus in North America are from the northwestern United States. A first diagnosis for adult female M. melanopus is provided that places M. melanopus in Loan's (1969) key for Microctonus species of North America, north of Mexico. Scanning electron photomicrographs of female morphology are provided to illustrate important diagnostic characters: the mesonotal sculpture with a distinct median longitudinal carina posteriorly, and the sculpture of metasomal tergite 1 with costae distinctly converging posteriorly. It is probable that M. melanopus has long been established in the southern interior of British Columbia because its host, C. obstrictus, has occurred there for many years. The occurrence of M. melanopus in southern Alberta is likely more recent, as its host only recently dispersed to that region. Rates of parasitism of C. obstrictus by M. melanopus, with one exception, were low in southern Alberta (<10%), and only one parasitized weevil was found on spring-seeded Brassica napus L., the primary brassicaceous oilseed crop associated with the weevil on the Canadian prairies. We hypothesize that M. melanopus will not provide substantial control of C. obstrictus in the mixed grassland ecoregion of its new range.
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Okasha, Elizabeth. "Anglo-Saxon Sundials." Anglo-Saxon Studies in Archaeology and History 22 (2020): 96–113. http://dx.doi.org/10.32028/9781789697865-6.
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This paper lists and discusses all known Anglo-Saxon stone sundials in the light of recent work published on Anglo- Saxon and Romanesque sculpture. Typical features of these sundials are given, including differences between the sundials and the ‘scratch dials’, the latter being more numerous and largely of post-Conquest date. The function and working of the sundials, and the systems of time-measurement used on them, are described and discussed. The second half of the paper discusses the twelve Anglo-Saxon stone sundials which contain an inscribed text, considering in particular the nature of the texts and the vocabulary employed. This vocabulary is compared with time-measurement vocabulary used in contemporary manuscripts. Finally the question is addressed as to why Anglo-Saxon sundials are always found in association with churches.
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Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.
Full textAbstract:
In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.
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PATHAK, MITRA LAL, MUHAMMAD IDREES, BO XU, and XIN FEN GAO. "Pollen morphology of subfamily Maloideae (Roseaceae) with special focus on the genus Photinia." Phytotaxa 404, no. 5 (2019): 171. http://dx.doi.org/10.11646/phytotaxa.404.5.1.
Full textAbstract:
Pollen morphology of 27 species of Photinia sensu stricto and five closely related genera of subfamily Maloideae (Rosaceae) were studied in detail. Palynomorphological characteristics were examined using scanning electron microscopy (SEM). Comparative pollen analysis was accomplished based on pollen size, shape, polar and equatorial views, polar and equatorial diameter ratio (P/E ratio), width of aperture, and exine ornamentation. The pollen grains of studied species were found to be monad, tricolporate, small to medium in size (P=17.42–30.45 μm, E=9.26–20.18 μm) and to have shapes oblate-spheroidal (0.88–1.0 μm), prolate-spheroidal (1.01–1.14 μm), sub-prolate (1.15–1.33 μm), prolate (1.34–2 μm), and perprolate (>2 μm). The exine ornamentation was perforated-striate, and two different types were identified. The result of quantitative characters has paltry taxonomic importance. The characters studied here delimit at generic level for some genera but not at species level. The obtained result was partially consistent with that of molecular studies published earlier. The pollen size and shape were found to be different between Asian and American species of Photinia. Especially exine sculpture was found to be an important feature to distinguish species of all genera studied. PCA analysis showed that the pollen shape, pollen sculpture, pollen size, and polarity are the key characters to distinguish the species of Photinia and the closely related genera in subfamily Maloideae. Based on pollen exine, two groups (Type I and Type II) were distinguished. The aim of the present study was to find out the taxonomic significance of palynomorphological characteristics in subfamily Maloideae (Rosaceae).
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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.
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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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TYAGI, KAOMUD, DEVKANT SINGHA, DEVKANT SINGHA, AVAS PAKRASHI, MOUMITA DAS, and VIKAS KUMAR. "Tryphactothrips rutherfordi (Bagnall) (Thysanoptera, Panchaetothripinae): first description of the male ." Zootaxa 4728, no. 3 (2020): 395–97. http://dx.doi.org/10.11646/zootaxa.4728.3.10.
Full textAbstract:
The subfamily Panchaetothripinae (family Thripidae) is represented by 140 species under 40 genera (Thrips Wiki 2019). In India, 36 species under 16 genera are recorded (Tyagi & Kumar 2016, Tyagi et al. 2017, Rachana and Varatharajan, 2018, Johnson et al. 2019). The members of this subfamily are leaf-feeders and usually dark brown in colour with strongly reticulate sculpture on body, terminal antennal segments needle-shaped, tarsi 1- or 2-segmented, fore wing upper vein fused with costa. The genus Tryphactothrips was established by Bagnall (1919), and this genus remains monobasic with only Dinurothrips rutherfordi Bagnall from Sri Lanka as the type species. The genus Tryphactothrips can be distinguished from related genera by the presence of sculptured round areolae on abdominal segments. It is closely related to Anisopilothrips Stannard & Mitri but can be identified by paired sigmoidal setae on abdominal tergites (absent in Anisopilothrips), mesonotum without complete median longitudinal split (complete median longitudinal in Anisopilothrips). Recently, a series of both sexes of Tryphactothrips rutherfordi with banded fore wings was collected on fern from Kerala state of India. Females were identified using published keys (Wilson 1975), and the male is here described for the first time. DNA was isolated from the studied specimens and partial fragment of mtCOI gene was amplified and sequenced (Tyagi et al. 2017). Four sequences were submitted in the GenBank (Accession No. MN627201 to MN627204). Photographs and illustrations were taken through a Leica Trinocular Microscope (Leica DM-1000) using Leica software application suite (LAS EZ 2.1.0). The studied specimens were deposited in the National Zoological Collections (NZC), Zoological Survey of India, Kolkata, India.
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Klein, Lidia. "Introduction to “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” Academy of Fine Arts, Warsaw." ARTMargins 8, no. 1 (2019): 94–104. http://dx.doi.org/10.1162/artm_a_00228.
Full textAbstract:
The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students' accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The introduction analyzes “Common Space” as a part of the very creative process within the Wooden Dumpling activity and describes its meaning within the socio-political contexts of post-1989 Poland. It explains the role of Kowalnia's practices as a unique pedagogical experiment anomalous within the fairly traditional art education systems of Central and Eastern Europe of the time. The introduction argues that the document is not only relevant for our understanding of Polish art in the 1990s, but also provokes broader questions about the feasibility and efficacy of socially engaged art practices as well as the communicative strategies employed within them.
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Dzik, Monika, Monika Zielińska, and Artur Żmijewski. "Common Space and Individual Space: Comments on a Group Task from the First Half of 1993." ARTMargins 8, no. 1 (2019): 105–16. http://dx.doi.org/10.1162/artm_a_00229.
Full textAbstract:
The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students' accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The introduction analyzes “Common Space” as a part of the very creative process within the Wooden Dumpling activity and describes its meaning within the socio-political contexts of post-1989 Poland. It explains the role of Kowalnia's practices as a unique pedagogical experiment anomalous within the fairly traditional art education systems of Central and Eastern Europe of the time. The introduction argues that the document is not only relevant for our understanding of Polish art in the 1990s, but also provokes broader questions about the feasibility and efficacy of socially engaged art practices as well as the communicative strategies employed within them.
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Bucci, Giovanna. "Geological Materials in Late Antique Archaeology: The Lithic Lectern Throne of the Christian Syrian Churches." Heritage 4, no. 3 (2021): 1883–98. http://dx.doi.org/10.3390/heritage4030106.
Full textAbstract:
The geological materials used in early Christian Syrian churches involve a lithic furnishing element: the lectern throne of the Syriac bema, a stone device used as a support for the holy books. Some inscriptions found in Syria suggest an interpretation for this artifact, located in the middle of the Syriac bema hemicycle, fronting the altar zone. These elements were made of basalt or limestone, depending on the geographical–geological context of the building. In this work, an unedited classification of the main typologies of thrones is proposed with a collatio between geo-archaeological data, epigraphic texts, mosaic inscriptions, literary sources, and findings. The role of this uncommon piece of furniture, uncertain up to now, is explained with a new interpretation coming from archaeological–architectural data combined with ancient sources. The study thus locates this architectonical sculpture in the building stratigraphy and also describes decorations from the lecterns, thus contributing to chronology analysis of published and unedited Syrian sites.
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Guerini, Andreia, and Antonia Sales. "A representação das artes nos contos de Clarice Lispector." Revista Épicas E4, no. 2021 (2021): 27–39. http://dx.doi.org/10.47044/2527-080x.2021vne4.2739.
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Clarice Lispector is a multifaceted writer, who excelled in narrative forms. Novels, short stories and chronicles are some of the modalities used by the skilled author. Based mainly on the considerations of Oliveira (2019) on art in the fiction of Clarice Lispector and the “pictorial description”, proposed by Louvel (2006), this article aims to present and analyze the presence of the arts in her stories, published in Todos os Contos (2016), organized by Benjamin Moser. The question that permeates the discussion is: how do the arts appear and how are they represented in Clarice Lispector's short stories? And how does it materialize in stylistic procedures? After analysing the selected corpus, we can say that Clarice Lispector uses procedures such as ekphrastic description, synesthesia and hypotypes to highlight the most varied artistic manifestations through countless references to music, dance, cinema, painting, sculpture, among others, to point that these elements are (co)adjuvant to the singular Clarician narrative.
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Tulić, Damir, and Mario Pintarić. "Io Antonio Michelazzi Architetto di professione. Nepoznati majstorovi projekti i nacrti za Krk, Omišalj, Senj, Karlobag i Rijeku." Ars Adriatica 9 (February 28, 2020): 107–32. http://dx.doi.org/10.15291/ars.2927.
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The article brings twelve unknown designs and projects of Rijeka’s sculptor and altar maker Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771). The earliest two designs, dating from 1750 and linked to the island of Krk, are today preserved at the Archivio di Stato in Venice. One is a ground plan and assessment of a public ruin in the town of Krk, and the other a panoramic view of the Omišalj bay. A newly discovered document clarifies Michelazzi’s commissioning by the Trieste administration in charge of Rijeka, Senj, and Karlobag, since Empress Maria Theresa appointed him the imperial-royal architect in 1755. In that capacity, Michelazzi worked on a dozen plans and projects for public works in Senj and Karlobag during 1757 and 1758. He drew a map of Senj with a project for modernizing the city port and its defence against stormy winds. A particularly important project was his plan to redirect the stream that ran through the town into the harbour of Senj, for which he designed a new riverbed. There were also projects for prisons in the citadel, a health office, a slaughterhouse, and butcher shops. In Karlobag, he made a project for the renovation of the citadel, butcher shops, a new cistern, and a public administrative-residential building on the main town square. His last design and project was a new slaughterhouse with butcher shops in Rijeka in 1770. Although most of Michelazzi’s designs were never put in practice because of the lack of finances, the designs published here are the first of this kind in his known oeuvre, which will certainly grow further, since he was also involved in architecture besides sculpture and altar making.
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Fisković, Igor. "Još o romaničkoj skulpturi s dubrovačke katedrale." Ars Adriatica, no. 5 (January 1, 2015): 39. http://dx.doi.org/10.15291/ars.516.
Full textAbstract:
Medieval Dubrovnik was rich in Romanesque figural and decorative sculpture but only a small group of fragmentary carvings has been preserved to date due to the fact that the town suffered a devastating earthquake in 1667. The earthquake completely destroyed the monumental Cathedral of the Assumption of the Virgin which had been considered “la piu bella in Illyrico” on the basis of its sculptural abundance. Archaeological excavations undertaken beneath the present-day Baroque Cathedral, consecrated in 1713, unearthed several thousand fragments of high-quality sculptures. Their analysis has confirmed the close connections between Dubrovnik and artistic centres in Apulia, which are well known from archival records. This article re-assesses the results of the excavations and the information from the primary sources in a new light and deepens our knowledge about the date, authorship and reconstruction of the thireenth-century pieces under consideration.The article opens with a discussion about the archival record informing us that Eustasius of Trani came to Dubrovnik in 1199 to work as a protomagister of Dubrovnik Cathedral. The document in question was the reason why art historians attributed to him a number of rather damaged, narrative reliefs which replicate the models and forms that can be seen on the portal of Trani Cathedral. Since the sculptor responsible for that portal was not known and given that the contract preserved in Dubrovnik referred to Eustasius as a son of “Belnardi, protomagistri civitati Trani”, the two artists came to be considered as the builders of the Cathedral of S. Nicola Pellegrino at Trani and of several other churches in the Terra di Bari. The sculptures produced by Eustasius and his father were convincingly deemed to display the artistic influence of southern and central France and the same can be observed in Dubrovnik. The article assigns the figure of Christ the Judge from a portal lunette depicting the Last Judgement, which has no parallels in Apulia, to the same group of sculptures and interprets the subject matter as being inspired by the iconography of numerous pilgrimage churches to which Dubrovnik Cathedral also belonged. The assessment of the formal qualities evident in all the carvings demonstrates that they are less refined than those on the portal of Trani Cathedral. Furthermore, the article separates the works of the father from those of the son and suggests that Bolnardus introduced the aforementioned French-style carving method, which had already taken root in Palestine, and that Eustasius followed it. The starting point in the proposed chronology was the Fall of Jerusalem in 1187 and the associated withdrawal of western master carvers alongside the Crusaders. During their stopover at Trani, around 1190, Boltranius was in charge of the carving of the portal of Trani Cathedral where he was helped by his son who left for Dubrovnik in 1199. Based on the visual characteristics of the fragments of architectural decoration, Eustasius is identified as being responsible for the building of Dubrovnik Cathedral according to Apulian taste which appealed to the local patrons as a consequence of their constant exposure to it through numerous trade links and the overall cultural milieu. In fact, Apulian taste was a symbiosis of Byzantine traditions and Romanesque novelties introduced by the Normans, and its allure was grounded in the fact that both the Terra di Bari and Dubrovnik acknowledged the supreme power of these two political forces albeit not at the same time and in unequal measure.The vernacular current in the Romanesque sculpture of Dubrovnik during the second quarter of the thirteenth century can be noted in a small number of works which influenced the decoration of Gothic and Renaissance public buildings. The source of this diffusion can be identified in the decoration of the Cathedral which epitomized the strong artistic connections with southern Italy from where typological and morphological models were borrowed. The redecoration of the Cathedral’s interior, especially the pulpit – recorded for the first time in 1262 – the archaeological remains of which reveal a polygonal structure resting on twelve columns, drew on those very models. Together with the ciborium above the altar in the main apse, the pulpit was praised by local chroniclers and foreign travel writers during the fifteenth century but also by the earliest church visitation records of the mid-seventeenth century. These two monuments belonged to a group of standard Apulian-Dalmatian ciboria and pulpits which also included those that can today be seen in the cathedrals of Trogir and Split but also in many south Italian churches. Some scholars have argued that the source model for this group can be found in Jerusalem but this article suggests that the ciborium from the church of S. Lorenzo fuori le mura in Rome, dated to 1148, presents a more likely option. Particular attention is given to the naturalistic workmanship of a polygonal capital from Dubrovnik Cathedral, which is assigned to the aforementioned pulpit. It is argued that the style of the capital inspired a series of capitals carved à jour on both sides of the Adriatic and that they display characteristics consistent with the manner of carving of Pietro di Facitolo seen at Bisceglie. The exceptional workmanship of the eagle from the same pulpit is attributed to Pasquo di Pietro who was recorded as a protomagister of the Cathedral from 1255 to 1282 and who well regarded as a master carver. His good reputation earned him the citizenship and an estate; he and his son were mentioned in the local documents as “de Ragusio”. The author of the article hypothesizes that Pasquo may have been Pietro di Facitolo’s son, with which he concludes the outline of the sculptural development of the Apulian Romanesque in Dubrovnik and Dalmatia in general.The final part of the article focuses on the only known work of Simeonus Ragusinus who signed himself as “incola tranensis” on the portal of the church of S. Andrea, that is, S. Salvatore at Barletta. The hybrid artistic expression of this eclectic sculptor with a limited gift, who gathered his knowledge from a variety of sources, reveals that he may have borrowed some iconographic motifs from Eustasius’ portal of Dubrovnik Cathedral or from the other two portals. Overall, the article corroborates several hypotheses that were previously expressed in the scholarship while dismissing and rerouting others. At the same time, it emphasizes the scarcity of solid evidence because of the fragmentary nature of the material. The main goal of the article is to present new research findings and widen our perspective on the issue. The article is a revised version of a brief paper presented at the international conference “Master Buvina and his Time” which was held at Split in 2014 and which will be published in a foreign language. I hope that with the addition of new comments and the scholarly apparatus the article will be a useful point of reference to Croatian researchers of similar topics and that it will contribute towards the creation of syntheses about the medieval art in the Adriatic.
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Smith, R. R. R. "Simulacra Gentium: the Ethne from the Sebasteion at Aphrodisias." Journal of Roman Studies 78 (November 1988): 50–77. http://dx.doi.org/10.2307/301450.
Full textAbstract:
Series of provinces and peoples were something new in Roman art. They were a distinctively Roman way of representing their empire visually, and reflect a distinctively Roman and imperial mode of thought. Such images are most familiar to us in sculpture from the reliefs that decorated the temple of Hadrian in Rome, and on coins from the ‘province’ series of Hadrian and Antoninus Pius. We know, however, from various written sources that extensive groups of personified peoples were made at Rome under Augustus. Recently, the discovery of such a series in relief at Aphrodisias, there called ethne (peoples), allows us for the first time to see what an early imperial group of this kind looked like. The new reliefs were part of the elaborate decoration of a temple complex, probably called a Sebasteion, dedicated to Aphrodite Prometor and the Julio-Claudian emperors. I have already published in this journal the reliefs with imperial scenes, which portray the Roman emperor from a Greek perspective. This article publishes the ethne reliefs which, it will be argued, set out to reproduce or adapt in a much more direct manner an Augustan monument in Rome. The use of an Augustan-style ‘province’ series in Asia Minor is a telling illustration both of some of the mechanisms in the transmission of imperial art and of a Greek city's identification with the Roman government's view of its empire.
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Abdul Wahab, Azna, and Siti Rasidah Md Sakip. "Mapping Isolated Places in School in Concurrence with Bullying Possibility Elements." Environment-Behaviour Proceedings Journal 4, no. 12 (2019): 359. http://dx.doi.org/10.21834/e-bpj.v4i12.1913.
Full textAbstract:
This study aims to indicate isolated places in school in concurrence with bullying specific environments and elements. Observation student's density was conducted in the school and analysed using the Geographic Information System (GIS). A thorough observation conducted at the isolated areas using CPTED element checklist. The results of the study reveal that the CPTED element which triggers the isolated places mostly cause by maintenance condition on window and wall. Rather than that, shrubs and decorative sculpture could block the sight in isolated areas. These results may help the school's authorities to optimise existing features to decrease the possibility of bullying.Keywords: CPTED; physical environment, bullyingeISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.DOI: https://doi.org/10.21834/e-bpj.v4i12.1913
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Roose, Henk, Willem Roose, and Stijn Daenekindt. "Trends in Contemporary Art Discourse: Using Topic Models to Analyze 25 years of Professional Art Criticism." Cultural Sociology 12, no. 3 (2018): 303–24. http://dx.doi.org/10.1177/1749975518764861.
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In this article, we use topic modeling to systematically explore topics discussed in contemporary art criticism. Analyzing 6965 articles published between 1991 and 2015 in Frieze, a leading art magazine, we find a plurality of topics characterizing professional discourse on contemporary art. Not surprisingly, media- or genre-specific topics such as film/cinema, photography, sculpture/installations, etc. emerge. Interestingly, extra-artistic topics also characterize contemporary art criticism: there is room for articles on new digital technology and on art and philosophy; there is also growing interest in the relationship between art and society. Our analysis shows that despite evolutions in the field of contemporary art – such as the ‘social turn’, in which contemporary art starts paying more attention to social forms and content – the prevalence of certain topics in contemporary art criticism has barely changed over the past 25 years. With this article, we demonstrate the unique value of topic modeling for cultural sociology: it is both a powerful computational technique to generate a bird’s-eye view of a huge text corpus and a heuristic device that locates key texts for further close reading.
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Mills, Victoria. "Charles Kingsley’s Hypatia, Visual Culture and Late-Victorian Gender Politics." Journal of Victorian Culture 25, no. 2 (2020): 240–63. http://dx.doi.org/10.1093/jvcult/vcz059.
Full textAbstract:
Abstract Charles Kingsley’s Hypatia or New Foes with an Old Face was first published in Fraser’s Magazine in 1852, but was reissued in numerous book editions in the late nineteenth century. Though often viewed as a novel depicting the religious controversies of the 1850s, Kingsley’s portrayal of the life and brutal death of a strong female figure from late antiquity also sheds light on the way in which the Victorians remodelled ancient histories to explore shifting gender roles at the fin de siècle. As the book gained in popularity towards the end of the century, it was reimagined in many different cultural forms. This article demonstrates how Kingsley’s Hypatia became a global, multi-media fiction of antiquity, how it was revisioned and consumed in different written, visual and material forms (book illustrations, a play, painting and sculpture) and how this reimagining functioned within the gender politics of the 1880s and 1890s. Kingsley’s novel retained a strong hold on the late-Victorian imagination, I argue, because the perpetual restaging of Hypatia’s story through different media facilitated the circulation of pressing fin-de-siècle debates about women’s education, women’s rights, and female consumerism.
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Vežić, Pavuša. "Pilastar sa stupićem ograde svetišta iz episkopalnog kompleksa u Zadru." Ars Adriatica, no. 5 (January 1, 2015): 21. http://dx.doi.org/10.15291/ars.515.
Full textAbstract:
The article focuses on a chancel screen post which was discovered in the ground-floor hallway of the Episcopal Palace at Zadar in 1970. It is not known how it reached this location. The post cannot be attributed to a specific building within the episcopal complex – consisting of the Cathedral, the church of St Donatus and other liturgical spaces – with certainty. Although previously published, the post has never been examined in much detail nor was it reproduced in a high-quality image. The front face bears a fine relief of an ornamental vine-scroll and represents a valuable example of stone sculpture from the early period of pre-Romanesque art in the Adriatic. As such it warrants special attention and the author compares it to similar ornaments found on chancel screen posts and panels, but also ciboria, along the east Adriatic coast from the Venetian lagoons to southern Dalmatia. In addition, the author highlights the important fact that an identical ornament was carved on the surface of a wooden beam from the well-known centrally planned church of the Holy Trinity (St Donatus) at Zadar.
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Vežić, Pavuša. "Chancel Screen Post-cum-Colonette from the Episcopal Complex at Zadar." Ars Adriatica, no. 5 (January 1, 2015): 21. http://dx.doi.org/10.15291/ars.902.
Full textAbstract:
The article focuses on a chancel screen post which was discovered in the ground-floor hallway of the Episcopal Palace at Zadar in 1970. It is not known how it reached this location. The post cannot be attributed to a specific building within the episcopal complex – consisting of the Cathedral, the church of St Donatus and other liturgical spaces – with certainty. Although previously published, the post has never been examined in much detail nor was it reproduced in a high-quality image. The front face bears a fine relief of an ornamental vine-scroll and represents a valuable example of stone sculpture from the early period of pre-Romanesque art in the Adriatic. As such it warrants special attention and the author compares it to similar ornaments found on chancel screen posts and panels, but also ciboria, along the east Adriatic coast from the Venetian lagoons to southern Dalmatia. In addition, the author highlights the important fact that an identical ornament was carved on the surface of a wooden beam from the well-known centrally planned church of the Holy Trinity (St Donatus) at Zadar.
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Vežić, Pavuša. "Plutej ograde svetišta iz memorije Sv. Tripuna u Kotoru." Ars Adriatica, no. 6 (January 1, 2016): 7. http://dx.doi.org/10.15291/ars.532.
Full textAbstract:
The author discusses a marble pluteus discovered in 1906 in the Kotor cathedral, where it was incorporated in the main altar as a spolium. Apparently, it originally belonged to the chancel screen in the sanctuary of St Tryphon, constructed in the early 9th century, of which only remnants of the foundation layer have been preserved. The pluteus has been analysed on several occasions, with the results published in scholarly literature, and most experts have justly dated it to the early period of pre-Romanesque sculpture in Dalmatia. Its front features a relief with geometric and vegetal ornaments. To the left, there is a panel with knotted triangles along the edge and rhombuses in the central section. The panel to the right contains two arcades with crosses underneath. Special attention has been paid to the relatively numerous ornaments on similar plutei in areas of Adrio-Byzantine tradition, in Roman cities of the Istrian and Dalmatian coastlines. Thereit combines with influences from Lombard and Carolingian centres, and in this combination it is also present in the area of the ancient Croatian state and other Sclavinias. The pluteus of Kotor is a telling element in the discussion on numerous similar relief arrangements and ornaments in the sacral art of the Adriatic cultural circle during the early medieval period.
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Choi, Hyeok Jae, Liliana M. Giussani, Chang Gee Jang, Byoung Un Oh, and J. Hugo Cota-Sánchez. "Systematics of disjunct northeastern Asian and northern North American Allium (Amaryllidaceae)." Botany 90, no. 6 (2012): 491–508. http://dx.doi.org/10.1139/b2012-031.
Full textAbstract:
This study was undertaken to better understand Allium infrageneric taxonomy, character evolution, species diversification, and patterns of radiation in disjunct species between the New and Old World using morphological and molecular data. Taxonomic sampling focused on northeastern Asian (mainly Korean and northeastern Chinese) and representative disjunct northern North American (Canadian) species. Pistil and seed testa morphology was investigated using light and scanning electron microscopy, respectively. These characters were useful to assess degree of relationship at different taxonomic levels in Allium. Phylogenetic studies included nrDNA ITS and cpDNA trnL–trnF sequence data analyzed using maximum parsimony approaches. Our molecular phylogeny recovers a similar topology to that published in recent studies and confirms three major evolutionary lines and patterns of radiation regarding the ancestors of subgenera Amerallium and Anguinum in the genus. The northeastern Asian and northern North American disjunction in this genus is inferred to be the result of multiple intercontinental migrations. Seed testa sculpture attributes in combination with seed shape provide key characters to distinguish Allium’s major clades in the molecular phylogeny. The two types of ovarian processes, basal hood-like and apical crest-like in disjunct Old and New World species, respectively, are newly derived characters in each continent. Most infrageneric Allium groups are monophyletic, while subgenus Cepa is polyphyletic.
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Pholyotha, Arthit, Chirasak Sutcharit, Piyoros Tongkerd, and Somsak Panha. "Systematic revision of the limestone karst-restricted land snail genus Aenigmatoconcha (Eupulmonata: Helicarionidae), with description of a new species." European Journal of Taxonomy 767 (September 10, 2021): 55–82. http://dx.doi.org/10.5852/ejt.2021.767.1487.
Full textAbstract:
Thai limestone karsts are known to contain a rich biodiversity of animals, especially terrestrial snails, but still require further intensive exploration to evaluate their biodiversity. To date, only a few studies on the limestone karst-inhabiting land snail genera have been published. The present work focuses on the species diversity and phylogenetic relationships of the limestone karst-restricted land snail genus Aenigmatoconcha from Thailand, based on comparative morphology and molecular evidence. The results yielded three known species (A. clivicola Tumpeesuwan & Tumpeesuwan, 2017, A. sumonthai Tumpeesuwan & Tumpeesuwan, 2018, and A. mitis (Pfeiffer, 1863) comb. nov.), plus a new species (A. eunetis Pholyotha & Panha sp. nov). The phylogenetic analyses of partial fragments of the mitochondrial cytochrome oxidase c subunit I (COI) gene confirmed the monophyly of all recognized species and congruence with the traditional morphology-based species designations. Average uncorrected p-distances of COI sequences between species were 9.7–12.0% and within species were 0.2–4.2%. This study also provides the re-description of penial sculpture, penial sheath, flagellum, penial caecum, and mantle lobe morphology that were neglected from the type species description. The present discovery of a new species increases the known diversity of Thai land snails and will support the conservation planning to protect karst biodiversity.
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Rossi, Martina. "Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 113–27. http://dx.doi.org/10.48294/s2020.007.
Full textAbstract:
Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.
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Muzii, Karl J., and Mary Haque. "Redesigning the Master Plan for the South Carolina Botanical Garden." HortScience 33, no. 3 (1998): 505a—505. http://dx.doi.org/10.21273/hortsci.33.3.505a.
Full textAbstract:
In 1997 the South Carolina Botanical Garden determined the need to reevaluate and update the 1989 Botanical Garden Master Plan. The original comprehensive plan presented recommendations for the long-term development of the site and the facilities of the garden. Significant changes and new programs have arisen since the 1989 Master Plan was completed. Because of the new direction of programs such as the South Carolina Heritage Corridor, Southern Living Home, Conservatory and Outdoor Sculpture Program, it was necessary to develop an updated design strategy to incorporate these future plans into the South Carolina Botanical Garden. Programmatically, the idea of the South Carolina Botanical Garden is to find solace in the garden, to find a retreat from the pressures of everyday life and create a somewhat idyllic world while setting an environment for cultural and botanical conservation. The goal was allowing visitors to move throughout the garden without endangering the existing and established ornamental and native flora as well as educating its visitors. It is on this framework that the Botanical Garden Master Plan is based. The design methodology used in the development of the master plan began with staff meetings, research and site analysis. Design concepts, circulation alternatives and final design choices evolved out of subsequent staff meetings and design reviews. A booklet was also published for future development and fund raising. My presentation will outline the goals, methodology, design decisions and concepts that shaped the final master plan for the South Carolina Botanical Garden.
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Wilson, Christopher C. "Saint Teresa of Ávila's Martyrdom: Images of her Transverberation in Mexican Colonial Painting." Anales del Instituto de Investigaciones Estéticas 21, no. 74-75 (1999): 211. http://dx.doi.org/10.22201/iie.18703062e.1999.74-75.1876.
Full textAbstract:
The images of the Transverberation of St. Teresa of Jesus originated in some of the episodes that are related by the saint, especially of the Libro de la vida in the 13th paragraph of the 29th chapter. The book had great success all over Europe after it was first published in Salamanca (Guillermo Foquel, 1588). However, the famed episode of the Transverberation was represented for the first time in the Vida gráfica (Antwerp, 1613) and this image was reproduced freely via prints. Among the most famous representation are a painting by Rubens, destroyed by fire in 1940, and the magnificent sculpture by Bernini, at the Church of Santa Maria della Vittoria in Rome. The scene was also accepted in New Spain with great enthusiasm and it became one of the most popular topics in religious painting. Wilson studies the image of the Transverberation not only as a mystic experience but also as a “virtual” martyrdom that is clearly expressed in a painting by Juan Correa based on a Flemish engraving by Richard Collin (17th century). Wilson recalls that both Saint Teresa and her brother Rodrigo used to read the lives of the saints during their childhood and that they even imagined themselves being martyred in the land of the Moors in North Africa. The iconography for the representations of Saint Teresa are taken from the topics that were used for illustrate the Martyrdom of Saint Ursula.
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Allen, Susan Heuck. "“Principally for Vases, etc.”: the Formation and Dispersal of the Calvert Collection." Anatolian Studies 46 (December 1996): 145–65. http://dx.doi.org/10.2307/3643003.
Full textAbstract:
As an offshoot of the recent reevaluation of Heinrich Schliemann by Traill and others, British expatriate diplomat Frank Calvert, the father of field archaeology in the Troad, for a century consigned to being “in Schliemann's shadow”, is now receiving recognition for his extensive contributions to the topography and archaeology of the Troad. J. M. Cook pioneered a comprehensive assessment of Calvert's work in his 1973 topographical study, The Troad. He had discovered an unpublished manuscript catalogue of the Calvert Collection which a Turkish schoolteacher had saved and later given to the Istanbul Archaeological Museum. Cook mined it in the 1950's for information on Calvert's many identifications and excavations at over fifty sites in the Troad and the Chersonese. In the 1980's Traill published several articles, centred on Schliemann, which shed some light on Calvert. His study of Schliemann's diaries and correspondence with Calvert in the Gennnadius Library betrayed Schliemann's repeated attempt to diminish the significance of Calvert's excavations at Troy and his outfoxing of Calvert concerning the Helios Metope, a remarkable work of early Hellenistic sculpture. Wood and Easton uncovered hitherto unpublished correspondence between Calvert and Charles Thomas Newton (1816–1894), Keeper of Greek and Roman Antiquities at the British Museum (1861–1886). Nevertheless, until the 1990's, no work solely featured Calvert and his legacy. Gamer (1992) and Allen (1994, 1995a and b, 1996 and forthcoming) have focused on Calvert's archaeological legacy and Robinson has unearthed critical diplomatic documents contextualizing his life (1994).
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DOLINSKAYA, IRINA V. "The use of egg characters for the classification of Notodontidae (Lepidoptera), with keys to the common Palaearctic genera and species." Zootaxa 4604, no. 2 (2019): 201. http://dx.doi.org/10.11646/zootaxa.4604.2.1.
Full textAbstract:
On the basis of comparative-morphological analysis of 43 genera and 92 species of Palaearctic Notodontidae, as well as the study of the eggs of outgroup species, complexes of characters that are diagnostic, taxonomic or phylogenetic are singled out. It is shown that the egg characteristics are of great taxonomic value at species and generic levels. Some characters are useful for grouping genera. In general, a complex of characters should be used, because different species or genera often share the same characters. Possible apomorphic and plesiomorphic states of the different characters are discussed in relation to the different taxa. The results of this study are discussed with reference to recently published classifications of Notodontidae. As a result of the studies, the keys for identification to the eggs of 43 genera and 92 species of notodontid moths from the Palaearctic region are presented. Reliable diagnostic characters that do not disappear with the injury of eggs or with eggs preserved in alcohol were used. Characters including egg shape, egg and chorion colour, the shape of gnawed holes in eggs when caterpillars hatched, chorionic sculpture, the type of oviposition, foodplants, and geographic distribution of the genera and species were applied. Occasionally, characters that are typical for live eggs, which vary during development, were used. These are characters of egg colour and pattern. The keys are illustrated with photographs made using a digital camera and a scanning electron microscope.
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Karkii, Binod. "'Publish or Perish !’ - A Friend or a Foe for Author?" Medical Journal of Shree Birendra Hospital 15, no. 2 (2017): 1. http://dx.doi.org/10.3126/mjsbh.v15i2.17184.
Full textAbstract:
Writing has always fascinated human beings! Be it the stone carving of ancient Greek history or the hand-written manuscripts of medieval times, they always show the existence of the writer. It shows that somebody has hunted the giant mammoth or how the ancient sculpture was built. In other words, we remember them. “Publish or perish!” has always been taken as a pressure in the academia to continuously publish ones’ work in the journals. This sometimes can have negative impact of submitting poor quality articles to the journals. The same can sometimes deviate oneself from the actual research agenda and lead to many unethical behaviors such as plagiarism and fabrication. The teaching capabilities of a certain individual in an institution can sometimes get overshadowed by his inability to publish on time. An institute nowadays may hire a teacher looking at the number of articles he has published rather than his intrinsic ability to make his pupils understand the profoundness of certain topic. Hence, some of them even consider this publish or perish as a tyranny in the field of literature. Nevertheless, publication is and will be an important pedestal for the progression of our scientific work. The truthfulness of our research is the responsibility of ourselves only. The intellectual theft will lead us nowhere other than the self-devaluation and remorse. There are certain rules and we all should follow them. Publication is the requirement of our academic progression; hence its importance cannot be undermined. Writing should begin from within oneself only. There is no age bar to learning hence the culture of writing in each one of us will eventually lessen the burden of gifted and ghost authors in our scientific society. Sharing of work amongst our peers and learning from each other will overcome the hindrance in publishing our work and so does the regular conduction of workshops and seminars for sensitizing our authors. No work can be great work without mutual effort. The time has come for the authors and the editors to sit down for a cup of tea to remove prejudices from each other and aid each other. Happy writing !
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
Full textAbstract:
The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Zsófia, Vargyas. "Alaricustól Szent Henrik császárig. Giovanni Bonazza és műhelye szétszóródott domborműsorozata Jankovich Miklós gyűjteményéből." Művészettörténeti Értesítő 69, no. 1 (2020): 109–22. http://dx.doi.org/10.1556/080.2020.00007.
Full textAbstract:
The Sculpture Collection in the Museum of Fine Arts, Budapest has been enriched in recent years with twenty-one marble portrait reliefs carved by Giovanni Bonazza (1654–1736) and his workshop. Fifteen reliefs were transferred within the institution and six were purchased from a private collection, but the identical creator and size, the uniform plaster framing and the themes of seventeen pieces – portraits of Italian rulers in the period of great migrations and the early Middle Ages – made it perfectly clear that they are pieces of a relief series scattered at an unknown date. The four “character heads” without caption, which deviate in theme from the series, are typical items of Venetian baroque sculpture.The search for the provenance of the reliefs led the author to the collector and art patron Miklós Jankovich (1773–1846), who possessed sixty-two marble reliefs (or sixty-four in later sources) which represented – to quote the collection inventories ‘Hunnish, Goth, Longobard kings and their successors who reigned in Italy after the Roman emperors’ from Alaric to emperor Saint Henry. Jankovich probably bought the series from the heirs of István Marczibányi after his death in 1810. In 1836 it passed into the National Museum as part of the first Jankovich collection. The inventorying of the paintings and sculptures in the Jankovich collection was interrupted by the great flood of Pest in spring 1838, and that must be the cause why the relief series was not included in the stock of the museum and its provenance got gradually forgotten. In 1924 the reliefs kept in the repository of the Collection of Antiquities as “insignificant items for the museum” not belonging to its collecting profile began to be sorted out. Thirty items were auctioned off in the Ernst Museum, twenty pieces were exchanged with László Mautner, an antiquities dealer in Budapest for an array of archaeological and historical objects. In the National Museum eleven portraits of kings and four character heads remained, delivered as “remnant” of the Historical Collection to the Museum of Fine Arts in 1943, from where they were transferred to the Hungarian National Gallery in 1957. The relief series from Giovanni Bonazza’s workshop once in the Jankovich collection must have been the only complete series of kings (though only known from second-hand information) which was carved after the book of engravings by the historian Emanuele Tesauro of Turin, Del regno d’Italia sotto I barbari, published in Turin in 1664. Its dispersion is an irretrievable loss.
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Metzger-Šober, Branko. "Nikada dovršena igra oko osnivanja Galerije moderne umjetnosti u Rijeci u međuratnome razdoblju." Ars Adriatica 9 (February 28, 2020): 173–92. http://dx.doi.org/10.15291/ars.2930.
Full textAbstract:
Based on the archival documentation from the interwar period in Rijeka, from 1934 to 1943, and an analysis of the published historical data, the author has presented the series of attempts to establish the Gallery of Modern Art in Rijeka at the time when Rijeka and Kvarner were annexed to the Kingdom of Italy, thus becoming its new province. Owing to the initiative of Guido Asveri Bottussi, an agile resident of Milan originating from Rijeka, the idea of founding a Gallery of Modern Art in Rijeka was born, as a very prominent institution that would exhibit works of Italian art from the 19th and 20th centuries. The first holdings of the Gallery were collected through donations made by Italian academics and a donation of three paintings and one sculpture made by King Victor Emmanuel III of Italy to support the initiative and set an example for other potential donators. All donated works were first deposited in Milan with Bottussi. Due to Rijeka’s geostrategic position, the act of establishing such an institution became a matter of national interest for Italy, which saw it as a way to spread its culture beyond its borders, to the Kingdom of SHS and other Danubian countries. Started as Bottussi’s private initiative, with time the Gallery would turn into an initiative of Rijeka’s city administration and other state institutions based in Rome. Due to the war circumstances, the artworks donated for the Gallery’s initial collection never reached Rijeka, which now lacked the conditions for its full establishment.
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Chodyński, Antoni Romuald. "WAR LOSSES: A THREE-VOLUME PUBLICATION OF THE MUSEUM OF GDAŃSK." Muzealnictwo 62 (June 16, 2021): 93–99. http://dx.doi.org/10.5604/01.3001.0014.9355.
Full textAbstract:
Released in three separate volumes, the publication continues the Polish museology series published for several years now and related to the losses incurred as a result of WW II within the borders of today’s Republic of Poland. The Preface to Volume I on the war losses of the Town Hall of the Main City of Gdańsk by the Director of the Museum in Gdańsk Waldemar Ossowski, contains reflections essential for the discussed issue. The three-volume series opens with the War Losses of the Town Hall of the Main City of Gdańsk (Vol. I). Briefly, the most essential facts have been highlighted in the story of its raising, and the functions of the major Town Hall interiors, both sumptuous and serving as offices, have been described: the Grand Hallway, the Grand Room called Red or Summer Room, the Small Room of the Council called Winter Room, the Grand Room of the City Council, the Treasury, and the Deposit Room. In the final months of WW II, Gdańsk lost about 80% of its most precious historic substance within the Main City. As early as in April 1945, the search for and the recovery of the dispersed cultural heritage began. War Losses of the Artus Manor and the Gdańsk Hallway in Gdańsk (Vol. 2) begins with a sepia photograph from 1879. As of October 1943 to January 1945, the following took place: dismantling together with signing and numbering of the objects, packing into wooden chests, and evacuation to several localities outside Gdańsk. It has already been ascertained that as early as in mid-June 1942, some dozen of the most precious historic monuments were evacuated from the Artus Manor, of which several items have not been recovered: late- -mediaeval paintings (Boat of the Church, Siege of Marienburg, Our Lady with Child, and Christ, Salvator Mundi), several elements from the four sets of tournament armours from the section of the Brotherhood of St Reinold, the sculpture Saturn with a Child, the sculpture group Diana’s Bath and Actaeon’s Metamorphosis, as well as some dozen elements of the décor of the Grand Hall. All these historic pieces were transferred to the village of Orle (Germ. Wordel) on the Sobieszewo Island on 16 June 1942. Only fragments of tournament armours have been recovered: they were found at various locations under the circumstances hard to clarify many years later. The most extensive war losses have been presented for the Uphagen House (Vol. 3). The majority of the gathered art works, the interior equipment and usable objects essential in the burgher’s tenement house transformed into a museum in the early 20th century have not been found, thus they have not returned to their original location.