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Ruprecht, Louis A. "Still Life". liquid blackness 6, n.º 1 (1 de abril de 2022): 140–65. http://dx.doi.org/10.1215/26923874-9546602.
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Abstract This essay explores the subtle interplay between sculptural bodies and animate bodies by exploring several “moments” in the history of classical and neoclassical aesthetics. These exemplary moments include the ancient Roman period (Pliny's reflections on Greek sculpture); the eighteenth and nineteenth centuries (Winckelmann's reflections on Greek sculpture and later Italian excavations at Pompeii); the twentieth century (Nazi adaptations of ancient Greek sculpture in Munich); and the twenty-first century (recurring discussion of polychromatic Greek art). Given that most of the art under discussion was “pagan,” this slippage between sculptural bodies and animate bodies highlights the presence of desire, specifically a desire for forbidden bodies.
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Frasca-Rath, Anna. "On the reception and agency of neoclassical sculpture and its material: case studies from Viennese sculpture galleries (c. 1780-1820)". Sculpture Journal 30, n.º 2 (1 de novembro de 2021): 177–314. http://dx.doi.org/10.3828/sj.2021.30.2.6.
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The last two decades have seen a surge in publications and exhibitions on neoclassical sculpture, exploring histories of collecting, transnational artistic exchange, artistic self-fashioning strategies, workshop processes, new biographical insights and art-theoretical questions. However, there is relatively little research regarding the display and staging of neoclassical sculpture in comparison with earlier periods. The years around 1800 marked the peak of a fashion for purpose-built galleries that appeared all over Europe. The multimedia setting for sculpture in this new type of building tied in with contemporary patterns of staging and viewing artworks in different contexts, such as tableaux vivants and phantasmagorias. This article investigates the different modes of communication between viewer and object in neoclassical sculpture galleries to shed light on the reception of these objects and their respective material. Case studies are centred on the Viennese sculpture galleries of Nicolas II, Prince Esterházy, Andrej Razumovsky and Joseph Count of Fries in the late eighteenth and early nineteenth centuries.
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Contreras Vargas, Jannen. "Un águila y un carcaj que han ofendido altamente a la nación mexicana". Intervención 2, n.º 28 (16 de fevereiro de 2024): 38–87. http://dx.doi.org/10.30763/intervencion.286.v2n28.65.2023.
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Se ha dicho que elementos de la escultura El Caballito, obra del escultor y arquitecto Manuel Tolsá: un carcaj, bajo uno de los cascos del caballo, y un águila, que fue retirada supuestamente a cincel, simbolizan una ofensa a la nación mexicana. Mi propuesta, surgida de información obtenida durante los trabajos de restauración y mediante el análisis de decisiones tecnológicas, de cadenas operativas y de comportamiento, es que el águila no formó parte de la escultura, sino que se integró como una intervención, durante un corto periodo, mientras que, en el contexto neoclásico, el carcaj busca representar al rey como un buen gobernante apolíneo, no como uno que humilla a los pueblos que gobierna. ____ It is said that elements of the sculpture El Caballito by the sculptor and architect Manuel Tolsá—a quiver, under one of the horse's hooves, and an eagle, which was supposedly chiseled out—symbolize great offence to the Mexican nation. My paper’s proposal, based on information obtained during the conservational work and through the analysis of technological choices and of chaînes opératoires and behavioral chains, is that the eagle was not part of the original sculpture, but rather integrated as an external intervention during a short time, and that the quiver, in the neoclassical context, aims to depict the king as the ideal of a good Apollonian ruler, not as one who humiliates the people he rules.
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Pérez-Jiménez, Aurelio. "The Lamp of Anaxagoras (Plu., Per. 16.8-9) and its Reception in the Art of the 17th-19th centuries". Ploutarchos 14 (30 de outubro de 2017): 69–106. http://dx.doi.org/10.14195/0258-655x_14_4.
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In this article I follow the trails wich the famous anecdote of Anaxagoras, Pericles and the lamp (Plu., Per. 16.8-9) has let in European art of the last centuries. I will comment the details of different artistic pieces from the17th century emblematic and from Neoclassical painting and sculpture of the 18th and 19th Centuries, as well as some 19th French ‘pendules’, to put in value the importance that this anecdote has had in European art, due to its didactic strength and to its litterary plasticity.
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Bouhet, Elise. "Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France". Contemporary French Civilization 45, n.º 3-4 (1 de dezembro de 2020): 285–303. http://dx.doi.org/10.3828/cfc.2020.17.
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What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.
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BARRYTE, BERNARD. "THE RETURN OF THE GODS: NEOCLASSICAL SCULPTURE IN BRITAIN BY MARJORIE TRUSTED (ED.)". Art Book 15, n.º 4 (novembro de 2008): 21–22. http://dx.doi.org/10.1111/j.1467-8357.2008.00990_3.x.
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Sparkes, Brian A. "IV Luxury Items". New Surveys in the Classics 40 (2010): 75–94. http://dx.doi.org/10.1017/s0017383510000732.
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The uneven survival of material evidence from Greek antiquity has tended to guide interest and research towards the diferent forms and functions of sculpture (Chapters II and III) and of vase-painting (Chapters V and VI). They have been preserved in such numbers that, although we have only a fraction of the total output, we can study the ways in which they developed over the centuries against the social, economic, and political background and in the diferent parts of the Greek world. This has encouraged a tendency towards positivism and has had the unfortunate outcome of considering them as the exclusive elements of Greek art, with a concomitant emphasis on the aspects of restraint, simplicity, and so forth that were highlighted by the Neoclassical attitudes to Greek art that emerged in the eighteenth century. This approach has led scholars to demean the more lavish products that, by the very nature of their intrinsic value, have failed to survive in any numbers – gold, silver, ivory, and the like. Recent excavations, particularly those in cemeteries situated in the outlying areas of the Greek world and in the regions bordering on ancient Greece, have brought to light some of those expensive objects that are now missing from the Greek heartlands. Meanwhile, investigations into the more flamboyant aspects of Greek art have shown that buildings and architectural and freestanding sculpture were lavishly coloured. A nineteenth-century drawing by Donaldson shows coloured glass beads set into a column capital of the Erechtheion (Figure 21).
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Nelson, Charmaine A. "White Marble, Black Bodies and the Fear of the Invisible Negro: Signifying Blackness in Mid-Nineteenth-Century Neoclassical Sculpture". RACAR : Revue d'art canadienne 27, n.º 1-2 (2000): 87. http://dx.doi.org/10.7202/1069725ar.
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Musatova, Tatyana. "Emperor Nicholas I, collector and philanthropist. Days 9/22 and 10/23 December 1845 in Bologna". Stephanos Peer reviewed multilanguage scientific journal 54, n.º 4 (31 de julho de 2022): 50–67. http://dx.doi.org/10.24249/2309-9917-2022-54-4-50-67.
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Bologna with its eldest university in Europe was an important point of Emperor Nicholas I’s grand tour of Italy in 1845. In Rome the tsar talked with the Pope on problems of inter-church relations, then the rest of the time in the eternal city and along the entire route (from Palermo to Naples, from Florence to Bologna and Venice) he showed himself as a prominent collector, patron of the arts, who adopted his parents love for Italian art. The tsar had a special reverence for the Bologna painting school, the Bolognese Baroque style, which, along with the Roman Baroque, was refl ected in his purchases for the New Hermitage. Only in Bologna he acquired the originals of classical painting (Guercino, Agostino Caracci). There he practically completed the formation of his famous collection of Italian neoclassical sculpture (C. Baruzzi) and ordered copies from the local Pinacoteca of such a high level that they, having partially reached our time, were honored to enter the GE painting collection. Russian monarch’s visit is commemorated only in Rome and Bologna by commemorative plaques, the fi rst of which is offi cial, and the second is an “ordinary” Bolognese marquis, who considered it an honor to visit his palace by the Russian tsar.
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Bass, Vadim. "Designs of Soviet war monuments, 1941–1945: transformation of the memorial genre, the models, the visual language and its sources". Zeitschrift für Slawistik 66, n.º 2 (1 de junho de 2021): 290–322. http://dx.doi.org/10.1515/slaw-2021-0014.
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Summary The article examines Soviet memorial designs of the Great Patriotic War period (1941–1945). These monuments were unorthodox in terms of visual language, and they differed strikingly from the Stalinist neoclassical mainstream of the previous decade. Architects tried to find means of commemoration of the enormous tragedy of war that they faced. Analysis of the poetics of their designs along with the commonplaces of the respective critical discourse reveals the process whereby the memorial genre was transformed. This article discusses the monumental tradition developed by the 1940 s, the models, the sources of motifs and solutions, and some stylistic and architectural peculiarities characteristic of wartime projects. Whereas previously the Soviet architects from the early 1930s had been working on the ‘ultimate’ monument – the Palace of Soviets in Moscow – with the beginning of the war they shifted to improvising in order to ‘stretch’ the limits of genre. I examine the ways in which they broke the limits and shaped the dense, overwhelming memorial narrative to be transmitted by the monuments. New memorials were considered as a form of heroic epic, analogous to the literary epics but expressed by means of architecture and sculpture. The nationalistic sentiments typical of the war years were reflected in both the design ideology and the perception of memorials. Alongside persistent motifs (such as 'prancing' tanks) emerged new themes (the commemoration of victims along with heroes). The technique of provoking the viewer’s emotions, as well as the visual language and architectural style of some structures and particular solutions (such as massive stone cubes), demonstrate the inheritance from the post-Revolutionary Modernist architecture. This unorthodox stylistic flexibility illustrates the ‘liberation’ of architects – and the short cultural ‘liberalization’ on the wartime period.
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Nappi, Maria Rosaria. "Valerio Villareale a Napoli e la Repubblica del 1799". Diciottesimo Secolo 6 (9 de novembro de 2021): 179–92. http://dx.doi.org/10.36253/ds-11812.
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Valerio Villareale (Palermo, 1773-1854), the main neoclassic sculptor in Sicily, spent his young years between Naples and Rome. The paper highlights his training in Naples, where he met Filippo Tagliolini, and in Rome, where he knew Antonio Canova. Based on unpublished documents, the paper explores his participation in the Neapolitan Republic of 1799 and his activity during the reign of Gioacchino and Carolina Murat, when he sculpted the portraits of the King and the Queen as well as several stucco decorations and sculptures in the royal palaces in Caserta and Naples. At the restoration of the Borboni the Villareale returned to Palermo where he continued his career not only as a sculptor, but also as a teacher and art restorer.
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Edwards, Jason. "‘Public Sculpture of Britain National Recording Project’, Public Monuments and Sculpture Association, 1997–Body Doubles: Sculpture in Britain 1877–1905by David J. GetsyRodin: the Zola of Sculptureedited by Claudine MitchellBertram Mackennaledited by Deborah EdwardsMapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951by University of Glasgow and Henry Moore Institute ‘Bertram Mackennal’ by Art Gallery of New South Wales, Sydney, August 17–November 4, 2007 ‘The Return of the Gods: Neoclassical Sculpture in Britain’, Tate Britain, January 28–June 8, 2008". Visual Culture in Britain 10, n.º 2 (24 de agosto de 2009): 201–7. http://dx.doi.org/10.1080/14714780902925150.
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Melnichuk, Anastasia. "From the classical ideal to the neoclassical aesthetics of the body in the art of post-revolutionary France. A new era of plastic anatomy at the Academy and the School of Fine Arts". Bulletin of Lviv National Academy of Arts, n.º 46 (18 de outubro de 2021): 46–53. http://dx.doi.org/10.37131/2524-0943-2021-46-4.
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Background. The article considers the stages of formation of anatomical science in two major art institutions of France in the XIX century, the Academy of Painting and Sculpture and the School of Fine Arts. Developments of theoretical works and bases of formation and development of plastic anatomy by known anatomists, anthropologists and artists-scientists of the XIX century are considered. Particular attention was paid to leading scientific and theoretical manuals on plastic anatomy. Excerpts from the works of the leaders of this discipline or researchers of their heritage have been translated from the original language. The methodical principles of teaching plastic anatomy are substantiated and the names of personalities who influenced the formation of plastic anatomy in the Academy and the School of Fine Arts are given. Their scientific work was of great importance for the development of anatomical science at the Academy and the School of Fine Arts. Thanks to them, not only the teaching process but also its spatial and architectural environment becomes important. The genesis of the term "plastic anatomy" is considered. Particular attention is paid to the transition from the term "anatomy" to the artistic term "plastic anatomy", which, in fact, is becoming typical of higher art education. Objectives. The purpose of the study is to highlight the methods of teaching plastic anatomy at the Academy and the School of Fine Arts during the XIX century. Methods. With the help of theoretical, informational methods and generalization method, the obtained research data were systematized and streamlined, the possibility of finding a solution to the problem was revealed and the practicality of the obtained results was evaluated. Results. For the first time in Ukrainian art history, material on the methods of teaching plastic anatomy was collected at the Academy and the School of Fine Arts of the XIX century. Conclusions. Prospects for further research require clarification of the relationship between anatomical practice and the philosophy of pragmatism, as well as a closer examination of some famous personalities (artists and anatomists-scientists) given in the article, who made a great contribution to the development of plastic anatomy.
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Beggs, Margo L. "(Un)Dress in Southworth & Hawes’ Daguerreotype Portraits: Clytie, Proserpine, and Antebellum Boston Women". Fashion Studies 2, n.º 1 (2019): 1–30. http://dx.doi.org/10.38055/fs020111.
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Young America: The Daguerreotypes of Southworth & Hawes (2005) is a monumental exhibition catalogue showcasing the work of Albert Sands Southworth and Josiah Johnson Hawes. Together the partners established a renowned daguerreotype studio in mid-nineteenth-century Boston that catered to the city’s bourgeoisie. This paper seeks to unravel the mystery of dozens of daguerreotypes found in Young America, in which elite Boston women appear to be nearly nude. The unidentified women stand in stark contrast to the carefully concealed bodies of Southworth & Hawes’ other female subjects. Why would they expose themselves in such a manner before the camera’s lens? This paper attributes the women’s state of (un)dress to their deliberate emulation of two sculptures in the classical tradition: Clytie, a marble bust dating to antiquity, and Proserpine, a mid-nineteenth-century marble bust by American neoclassical sculptor Hiram Powers. This argument first reveals how a general “classical statue” aesthetic prevailed for women’s deportment in antebellum America, then demonstrates that the busts of Clytie and Proserpine had special significance as icons of white, elite female beauty in the period. Next, this paper makes the case that Southworth & Hawes devised a special style of photography deriving from their own daguerreotypes of the two statues, in which the women’s off-shoulder drapery was deliberately obscured allowing their female clientele to pose in the guise of these famous statues. The paper concludes by arguing that the women shown in these images could pose in this style without contravening societal norms, as these mythological figures were construed by women and men in the period to reflect the central precepts of the mid-nineteenth-century “Cult of True Womanhood.” Moreover, the busts offered sartorial models that reinforced standards of female dress as they related to class and privilege. By baring their flawless, white skin, however, the women positioned themselves at the crux of contentious beliefs about race in a deeply divided nation prior to the American Civil War.
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Savettieri, Chiara. ""Il avait retrouvé le secret de Pygmalion" : Girodet, Canova e l'illusione della vita". Studiolo 2, n.º 1 (2003): 14–42. http://dx.doi.org/10.3406/studi.2003.1113.
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Chiara Savettieri, "Il avait retrouvé le secret de Pygmalion" : Girodet, Canova and the illusion of life ; This paper intends to highlight the relationship between the French painter Anne-Louis Girodet-Trioson and the Italian sculptor Antonio Canova. The works by Girodet in which one can distinguish connections with the sculptor are the Endymion and Pygmalion and Galatea. In the former, one can observe various similarities with the aesthetics of Canova : these are particularly recognizable in the staging of the light in order to reproduce the smooth texture of flesh and in a conception of beauty particular to Winckelmann, which, by its "indeterminate" nature, appears androgynous and ephebic. Following the wishes of its patron, that is to say Sommariva, the Pygmalion was to constitute a tribute to Canova who was able to breathe life and the illusion of movement to his marble statues. In this painting, it is possible to distinguish precisely both the similarity but also the contrast with the sculptor. On the one hand, Girodet, like Canova, believes that art is composed of a significant intellectual element, which bathes the works in a cool sheen, far removed from the fervent spontaneity of Canova's marble statues. However, if one looks closer, it appears that this intellectualism stems from a deep mise en abyme of the values on which the neoclassical aesthetics was based : a crisis that appears extremely clearly in the numerous texts written by the painter throughout his life.
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Stobiecka, Monika. "Towards a Prosthetic Archaeology". Journal of Social Archaeology 20, n.º 3 (6 de julho de 2020): 335–52. http://dx.doi.org/10.1177/1469605320937530.
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Prosthetic archaeology is a theoretical proposal for a materially oriented digital practice. It is based on a critical approach to implementing the latest technologies in archaeology. Drawing from the philosophy of technology and prosthetic studies, this project offers a more critical and meaningful understanding of digital methods in archaeology. The main interpretative figure is the verb “to prostheticize.” Thus, prosthetic archaeology is not solely about prostheses — technological improvements understood as supplements. Rather, it is about the processes of “prostheticizing” archaeology, brought on by the digital turn in “the discipline of things.” A verbal understanding of this main category and its processual potential allows for a technological prosthesis to function as an active addition that does, makes, transforms, refers, evokes, (re)constructs, and generates meanings. The concept of prosthetic archaeology is illustrated with a discussion of the “Body Can’t Wait” advertising campaign organized in Paris, March 2018, where ancient and neoclassical sculptures were equipped with 3D-printed artificial limbs. Inspired by an advertising campaign that uses technology to raise social awareness and engage in current global problems, prosthetic archaeology may offer a prefigurative blueprint for a future, radical archaeology.
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Lisovskii, Vladimir G., Varvara S. Speranskaya e Vasilii S. Potapov. "From “Sarskaya Road” to “Victory Avenue”. The Architectural Ensemble of Moskovsky Avenue in Saint Petersburg". Vestnik of Saint Petersburg University. Arts 10, n.º 4 (2020): 637–82. http://dx.doi.org/10.21638/spbu15.2020.406.
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The article contains a brief overview of the history of the formation of the architectural ensemble of Moskovsky Avenue in Saint Petersburg — one of the major highways in the southern districts of the city. The role of regular urban planning techniques is noted in the process of organizing the main part of the modern highway, starting from Sennaya Square. The highway from the moment of its inception has served as part of a lengthy route important for the whole country, connecting Saint Petersburg with Moscow and Kiev. The process of gradual changes in the architectural characteristics of the avenue in the 19th century is traced, when the composition of the following sections of the highway was formed — from the Fontanka to the square at the Moscow Triumphal Gate. The historical and symbolical emphasis of the Gate is emphasized. The focus of the article is on the part of avenue that was created in the middle of the twentieth century in the neoclassical style of that time. The results of a large competition for the development of planning projects of the highway, conducted when the avenue was named after Joseph Stalin, are briefly reviewed. The authors analyze the spatial structure of the highway, the developed nature of which makes it possible to compare Moskovsky Avenue to Nevsky Avenue. It is shown that the very use of the patterns specific to the order system allowed for the creation of an ensemble, whose solemn character is consonant with the theme of victory in the war of 1941–1945. The authors evaluate the creative contribution of a number of Soviet architects and sculptors in the creation of the ensemble. The article also explores examples of the contemporary urban development of the neighboring city blocks and evaluates the level of their compatibility with the task of preserving the ensemble as an art monument of its time.
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В.В., Паршуков,. "Architectural and artistic features of the reconstruction projects of the Regional Committee of the All-Union Communist Party of Bolsheviks building in Novosibirsk". Iskusstvo Evrazii [The Art of Eurasia], n.º 4(27) (29 de dezembro de 2022): 140–51. http://dx.doi.org/10.46748/arteuras.2022.04.010.
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В статье представлена история проектирования реконструкции здания обкома ВКП(б) в Новосибирске. Анализируются архитектурно-художественные решения проектов надстройки здания и пристройки к нему. Первоначальное здание для отделов Сибревкома построено по проекту сибирского архитектора А.Д. Крячкова в 1926 г. и выполнено в стилистике рационалистического модерна. Его же проект надстройки здания 1936 г. предложен в стилистике ар-деко с элементами неоклассицизма и с богатым скульптурным оформлением фасадов. В 1945–1949 гг. институтом «Промстройпроект» выполняется проект пристройки здания на ул. Свердлова, авторы которого, архитекторы С.П. Скобликов и В.И. Нуждин, выполняют архитектурное оформление здания в стилистике советского неоклассицизма — государственного архитектурного стиля того времени. В проекте фасад с главным входом со стороны ул. Свердлова оформлен ризалитами с дорическими колоннами, в нишах между которыми размещены скульптуры советских людей, и гербом СССР с флагами на венчающем аттике. Некоторые использованные источники введены в научный оборот впервые. The article presents the history of designing the reconstruction of the building of the Regional Committee of the All-Union Communist Party of Bolsheviks in Novosibirsk. The object of analysis is the architectural and artistic solutions of the projects of the superstructure of the building and extension to it. The original building for the departments of Sibrevkom was built in 1926 according to the project of the Siberian architect A.D. Kryachkov and made in the style of rationalist modern. He also proposed a project for the superstructure of the building in 1936 in the Art Deco style with neoclassical elements and richly sculpted facades. In 1945–1949 Promstroyproekt Institute completed the project for the extension of a house along Sverdlov Street. Its authors — architects S.P. Skoblikov and V.I. Nuzhdin decided on the architectural design of the building in the style of Soviet neoclassicism — the state architectural style of that time. In the project, the facade with the main entrance from Sverdlov Street is decorated with ledges with Doric columns, in niches between which sculptures of Soviet people are placed, and on the crowning attic the coat of arms of the USSR with flags. Some of the sources used are introduced into scientific circulation for the first time.
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Konenkova, Alla K., Svetlana I. Mikhaylova e Yury V. Robinov. "Architect and engineer Nikolai Alexandrovich Poturaev. Notes on creative work". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 289–307. http://dx.doi.org/10.37816/2073-9567-2021-61-289-307.
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Currently, one of the most important tasks of research activity is the task of collecting information, identifying and publishing the names of architects, sculptors and artists who are still unknown, the circumstances of their life and work, which will allow more objective presenting of Russian art of the second half of the 19th – early 20th centuries. In particular, this concerns a study of the field of construction of industrial facilities, where the names of most project authors still remain unknown. This paper is to study the work of one of such architects and engineers — Nikolai Alexandrovich Poturaev. To this end the authors explore some of the construction activities of the Brothers A. and N. Poturaev Trading House in Moscow, as well as identify a number of addresses related to the placement of workshop, technical office and other services of this Trading House. Addressing to archival documents made it possible to establish that the Trading House of brothers A. and N. Poturaev actively collaborated with the M. S. Kuznetsov Partnership and carried out construction work at the Riga Porcelain-Faience Factory, Dulevsky Porcelain Factory, Tver Porcelain Factory in the village of Kuznetsovo. The factory buildings under construction included carefully elaborate heating system as well as the first ventilation and air humidification system installed. The most modern technical solutions and materials were used for construction. It should be noted that the merits of buildings of purely utilitarian purpose are due in no small part to elements of decor, generally characteristic of Russian industrial architecture of the late 19th – early 20th centuries. The authors analyze Poturaev's architectural projects, considering stylistic features of neoclassical buildings with the introduction of Art Nouveau elements, as well as other historical styles. Poturaev's architecture is distinguished by rationality, the desire to develop interesting layouts, convenient and practical. In the composition of the building, he always highlights its structural basis, as a rule, emphasized by decorative elements. The surviving buildings of N. A. Poturaev provide additional connotations to the characteristic of development of a domestic architecture of the late 19th – early 20th centuries.
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Dekova, Galina. "За теорията на българската скулптура от първата половина на ХХ век". Philosophical Alternatives XXXII, n.º 5 (28 de setembro de 2023). http://dx.doi.org/10.58945/cuba5389.
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On the Theory of Bulgarian Sculpture from the First Half of the 20th century Abstract: The article outlines some aspects of Vaska Emanuilova's work such as: the theme of the restorative current of modernism known as neoclassical art in France and its cultural prerequisites; the theme of women in sculpture; the theme of the primitive and its specific role in the genesis of Bulgarian modern sculpture and painting from the 1930s.
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Chauhan, Neha. "The Science Behind Nefertiti's Beauty: A Plastic Surgeon's Analysis". Indian Journal of Plastic Surgery, 22 de dezembro de 2022. http://dx.doi.org/10.1055/s-0042-1759496.
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Abstract Introduction The famous stucco limestone coated “Bust of Nefertiti” housed in the Neues Museum, Germany dated 1,345 BC is an icon of beauty. Sculpted around three millennia ago by Thutmose, the bust still emits a charm that leaves its audience spellbound. However, no one, to the best of author's knowledge, has analyzed this sculpture or its photographs objectively to determine if there is any scientific basis to its attractiveness. Materials and Methods High-resolution photographs of the bust were anthropometrically analyzed in frontal and right lateral profile views using neoclassical canons and Farkas' studies. Results The photographs of the bust exhibit many of the neoclassical canons and proportions of Farkas' studies exactly, while many of the remaining are very close to these measurements. A few measurements are out of range of what is considered acceptable these days; however, her overall appearance is pleasing. Conclusion Despite passage of more than three millennia, the proportions and parameters defining beautiful faces have largely remained unchanged.
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Selvafolta, Ornella. "ARTE, POLITICA, CULTURA NEI GIARDINI DI VILLA MELZI D’ERIL A BELLAGIO. IL MONUMENTO A DANTE E BEATRICE DI GIOVANNI BATTISTA COMOLLI, 1810". Istituto Lombardo - Accademia di Scienze e Lettere • Rendiconti di Lettere, 10 de fevereiro de 2022. http://dx.doi.org/10.4081/lettere.2021.779.
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On the occasion of the double anniversary - the seven hundred years since the death of Dante Alighieri and the two hundred years since the death of Napoleon Bonaparte - the essay deals with the monument of Dante and Beatrice sculpted by the neoclassical artist Giovanni Battista Comolli in 1810. His client was Francesco Melzi d’Eril, former Vice President of the Italian Republic (1802-1804), then Grand Chancellor Keeper of Seals of the Kingdom of Italy (1805-1814). Located in the gardens of the Villa Melzi d’Eril in Bellagio on Lake Como, the monument features the meeting of Dante and Beatrice in Canto XVIII of Paradiso, when the woman soothes the poet for the prophecy of exile announced by his ancestor Cacciaguida. The paper highlights how this subject implies on the part of the client the desire to celebrate the poet and his work as expressions of Italian values, at a time when Napoleon’s authoritarian turn had disappointed his aspirations for the country’s greater independence. The sculpture also marks some artistic novelties and, as a whole, can be considered an early example of a monument specifically designed around Dante and his Commedia, anticipating the artistic success of the poet in the following decades of the Nineteenth century.
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Bartolo, Rita. "Antonio Canova: The genius of Neoclassic sculpture". Sculpture, Monuments and Open Space, 4 de julho de 2024. http://dx.doi.org/10.1002/smo3.12003.
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Bonde, Hans. "Heroisme i sten? Arkitektur, ny kunst og ideologi på Gymnastikhøjskolen i Ollerup". Forum for Idræt 29, n.º 1 (1 de março de 2013). http://dx.doi.org/10.7146/ffi.v29i1.31637.
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Heroism in Stone? Architecture, New Art and Ideology at the Gymnastics Academy in OllerupIn the period from 1920 to 1926 the internationally renowned gymnastics pedagogue, Niels Bukh, created a huge neoclassical inspired sports complex that completely broke with the dimensions of the small South Funen village of Ollerup. In 2007, a donation from the New Carlsberg Foundation opened up for the introduction of new artworks on the gymnastics school. The artists argued that Bukh’s “heroism” demanded an aesthetic counterpart. The article follows two main tracks: 1) Do the original art and architecture of Bukh’s gymnastics high school express authoritarian-heroic traits? 2) Can the new art on Ollerup be said to create a response to such alleged heroic aspects? The conclusion is that the traditional architecture and art at Ollerup contain only vague and tentative signs of “heroism.” The new artists that attempt to create a counterweight to Bukh heroism lands in the paradox that they themselves have built a much more faceless and soaring art than Bukh and his democratically oriented architect, Ejnar Mindedal, had originally established. At the same time, the new artists have moved around with statues and sculptures in such a way that the school’s fine sexual-aesthetic axis opposing feminine and masculine, heterosexual and homosexual, and internal and external, have been lost.