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This paper adopts materiality as an interpretive lens to explore the gendered resonances of ultramarine in the works of Baroque painter Artemisia Gentileschi. The history of ultramarine in early Italian devotional painting and the Renaissance theory of colore provide a contextual backdrop for investigating how Artemisia considered the significance of her materials in the competitive seventeenth-century art market. As a female artist, Artemisia was uniquely scrutinized by her male patrons and competitors and was therefore pressed to strategically craft her self-representation as a woman in early modern Italy. Artemisia's conspicuous use of ultramarine perhaps indicates her strategy to build upon the embedded meanings of the pigment and imbue her work with the value of both skill and material as she sought recognition for her artifice. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The meaning of music crosses the historically conceived concept of time. This article focuses on the the works of Johann Sebastian Bach and Felix Mendelssohn-Bartholdy as cases ponting out the resistence of musical signs (semiotically speaking) to functionalist readings, which would transform them into ruins (to be precise, rubble of the past acquiring their real beauty in the present, as Marc Augé try to display, in his recent essay, with regard to heritage of some culture). Mendelssohn's role was central, in the debates of his time, about the new perspectives of lutheran sacred song, because he suffered the resistence opposed by some contemporary composers and critics to his Paulus, the oratorio addressed to the concert halls and not to the sacred service. Bach's thought endured several misinterpretations during the romantic era. The case of Two and three part Inventions shows that the sense of arising musical culture of the past has to be corrected (translated) to prove the linear historical development of art. [ABSTRACT FROM AUTHOR]

The article focuses on the manuscripts of Matteo Zaccolini of Cesena, Italy in the collection of Cassiano Dal Pozzo. Zaccolini's artistic career restricts to decorations and projects for the Theatine churches and monasteries in Rome and Naples. Aside from his paintings, he also writes. In fact, four illustrated volumes on perspective and color survive among the Ashburnham manuscripts of the Laurentian Library in Florence. The four volumes covers the importance of Baroque art theory in Italian history. Thus, the evidence of the collection testifies the importance of making art scientific and systematic, a quality associated with Baroque naturalism through the works of art themselves.

The article highlights Pierleone Casella's "Elogia Illustrium Artificum of 1606," the early seventeenth-century canon of artistic excellence. It focuses on the manner of Casella's style in writing, was described as enigmatic and far more superficial for it follows the style of Florus and of Seneca rather than the splendid elegance of Ciceronian style. Furthermore, the tentative interpretation and translation of Casella's "Elogia" were depicted as a work not from his own effort but from different collaborations of many colleagues and the canon's overall significance was rather defective than being impressive.

The article presents information regarding the American Antiquarian Society for the 1934-1935 year. Fund raising efforts by the society to cover acquisitions for its library collection are detailed. The article reports that the grounds of the library lost its box hedge and an elm tree and an alarm system was installed in the library after it suffered a theft. The Society partnered with the Worcester Art museum to host an exhibition of 17th-century New England portraits in the summer of 1934. The article also notes the death of several members of the society in 1935 including Roland B. Dixon, William L. Clements, and Albert H. Whitin.

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)