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This article shows that Titian's painting contains at its core a dialectical scheme of tension between opposing elements: jovial/tragic, classical/christian, dagger/refuge. This tension feeds the intersection of meaningful structures that characterize every work of art. This dialectic explains the ultimate meaning of painting for Titian. We focus this dialectic on the work The Flaying of Marsyas, a work that teaches that painting, art in general, for Titian opens wounds, it is a dagger, but it is also a shelter in which to take refuge from the horror of the world. [ABSTRACT FROM AUTHOR]

The article focuses on the unresolved question of Wifredo Lam's relationship with surrealism, examining the impact of his interactions with surrealists during his time in Marseille. Topics include the transformative effect of surrealism on Lam's artistic style, the influence of Caribbean landscapes and cultures on his work, and the symbolic significance of vegetation in his paintings as a representation of primordial wilderness and colonial exploitation.

This article examines Jesuit representation of the exploits of Francis Xavier, 'the Apostle of the East', in celebration of his canonization in 1622 and in the Jesuit campaign to have him canonized prior to that. Pageants in Madrid, Lisbon and Antwerp are examined, along with prior pictorial depictions of Francis' miracles and activities, taking into account the gulf between the political realities of proselytization in the Portuguese territories of influence in the East and the hagiography of 1622. The work of Rubens, the Portuguese painter André Reinoso and three Spanish Golden Age poet/playwrights are analyzed, exploring variance in the application of a universal Jesuit aesthetic founded on the melding of the Classical and the Catholic in response to the local conditions for which each ephemeral event and work of art were produced. [ABSTRACT FROM AUTHOR]

The article summarizes information on the ceramic production of the Trypillya-Cucuteni culture. It covers all phases of Trypillya ceramic production, including clay preparation, modeling methods, structural component connection, and decoration. Special attention is given to the examination of engobe and pigment composition in the painted vessel areas. The composition of the clay body and petrographic studies are also addressed. At the Bodaki site, samples of painted pottery, traditional kitchenware, and ceramics classified as "western imports" were examined. Vessels were modeled from clay strips or slabs, with the strips often being diagonally connected to increase the bonding surface. There were various methods for creating vessel rims, and during the middle Trypillya culture, there was a tendency towards standardization of forms. The article describes various techniques and methods used in the ceramic production of the middle to late Trypillya culture. It also discusses the use of wooden sticks to connect parts of a vessel. Furthermore, various methods for treating vessel surfaces are described, such as scraping off excess clay and applying engobe. The study shows that surface treatment and handle production techniques were applied differently in various settlements of the Trypillia culture. The article describes the painting process, pigments, and binders used in the production of Trypillya ceramics. Painting covered about two-thirds of the surface of a vessel, with the lower part usually remaining undecorated. In the middle period, trichromatic painting with red, black, and white colors was common. Later, mainly monochrome painting was used. The colors consisted of a mixture of pyrolusite, ochre, and burnt bone. Organic binders were found in the paint layers, indicating that the ceramics were painted after firing. The surfaces of the painted ceramics were polished to make them more compact and water-resistant. [Extracted from the article]

The article analyzes a good quality painting found in the deposits of the Pinacoteca Albertina in Turin, until now ascribed to Giovan Francesco Romanelli or to an anonymous Lombard painter. It is actually a work by Piedmontese painter Giorgio Alberini, and his nephew Pietro Paolo Buffa, who signed and dated 1620 at the edge of the score, at the bottom. Alberini was a painter born in Alessandria between 1574 and 1576 and in all probability a pupil of Giuseppe Giovenone, as stated in a document dated July 12, 1592. He later married Barbara, daughter of Amedeo Giove none, thus becoming a relative of the Laninos. Alberini was above all a close collaborator of Moncalvo (he worked, for example, on the decoration of the Great Gallery of Charles Emmanuel I in Turin, 1607, and on the frescoes of the cloister of S. Croce in Casale), yet sometimes he worked alone, even in the same places as Caccia, such as the Sacro Monte di Crea where he painted numerous frescoes. [ABSTRACT FROM AUTHOR]

Michael Field, pseudonym of the late-Victorian poetic duo Katharine Bradley and Edith Cooper, created poems that operated as aesthetic hosts of artworks from previous centuries. The collection Long Ago (1 889) hosts the poetic fragments of Sappho, while Sight and Song (1892) transports the paintings of the Old Masters into a new, textual abode. The poems highlight the importance of proportionality iii the hosting dynamic, demonstrating how the host-guest relationship is formed by managing allotments of space. The form of Field's lyrics show-case this negotiation in action through choices based on length and repetition: for example, extending a Sapphic fragment into an eight-line stanza or into forty lines; deciding where, in the original poem, to feature Sapphot voice; and balancing literal description with impressionistic interpretation of paintings. The emphasis on form reveals how the poet-hosts manage their artist-guests through the poems' rhetorical shape. In terms of hospitality, these poet-hosts achieve a particular freedom by letting past artworks inhabit their modern-era words. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 article presents the discussion on small room of the Getty Museum in Los Angeles, two paintings by Nicolas Poussin. Topics include art historians, he is attentive to the specificities of each artistic medium and the translational politics of intermediality; and cause of this despair may seem quite anodyne in emphasising, with seemingly ever-increasing insistence, the translation between artistic genres.

Copyright of Journal of Academic Social Resources is the property of Journal of Academic Social Resources 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.)

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine 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.)

Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. [ABSTRACT FROM AUTHOR]

The Romanian artistic movement of the 19th-century assisted the political endeavor of national legitimization by establishing the Romanian identity, in its various forms, through art. By adapting the example of their neoclassical and romantic counterparts they depicted various patriotic symbols on their canvases in order to appeal both to the population, from a visual standpoint, and their inherent political cause: obtaining independence and unifying the historical Romanian provinces. Such unity was first achieved by the historical figure of Mihai Viteazul, a Wallachian prince of the late 16th century. As a consequence, his figure became one of the main motifs illustrated in the art of the time, being closely tied to the concept of Romanian historic identity. The artists underwent a process of research in order to represent and bring forward a faithful image of the ruler, and some of his greatest achievements. Both historical and literary sources were approached, resulting in a diverse body of paintings, which will be discussed in the present article. The research aims to establish the sources on which the various artworks were based, the accuracy of the represented message with respect to the historical background of the ruler as well as the various stylistic approaches of the artists in question. [ABSTRACT FROM AUTHOR]

In Book X of the Republic , Plato develops a structured criticism of the images of painting in order to denigrate, by means of analogy, the cognitive value of poetry. Yet Plato persistently employs verbal images at points of utmost importance with regard to his philosophical aims. In the face of Plato's critique of the image, his methodic use of images can seem paradoxical: critique and method point in opposing directions with regard to the cognitive value of the image. The aim of this article is to promote a moderate cognitivist stance on [End Page 18] Plato's use of verbal images, using to this end the understanding that contemporary philosophy affords us. Operating through the lens of the metaphor of "philosophical paintings," which they deem as apt and instructive, the authors (a) trace in Book X's critique of painting the specific properties of the verbal images that can allow a cognitive function in the context of philosophical instruction, (b) examine and refute a pertinent objection to this moderate cognitivist stance, and (c) argue for the overall consistency between the critique of Book X and Plato's use of verbal images, drawing on evidence in Plato's practice that he acknowledges the risk of the image's allure and is proactive in relation to this risk. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina 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.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina 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.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina 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 article offers information on an eclectic collection donated by the Webb family to the Hawke's Bay Museums Trust, comprising items brought with them from England to Ormondville in Southern Hawke's Bay. Topics include the diverse nature of the collection, including archival material, china, furniture, clothing, textiles, paintings, and jewelry, each with familial, aesthetic, or utilitarian significance.

The poetry of ekphrasis by Northern Irish poet, Derek Mahon, is both a creative choice of intermedial writing and an esoteric poetic strategy, which is tied with his thoughts on the autonomy and social function and other related issues as well. This device of "alienation" can be attributed to the social woes in Northern Ireland since the 1960s. It amounts to a reuse and diversified transplantation of shared visual resources, thus "now" and "history", "here" and "there" are juxtaposed and interlocked as a "significant form" of art to counter the breaking down of social norms. The common mechanism of viewing it accomplished in the process provides a way of mending social fissures and incubating an aesthetic community, while cultivating one more thinking path for understanding the visuality of ekphrastic poetry. [ABSTRACT FROM AUTHOR]

The article presents a historiographic contextualization of Leo Steinberg's article "Observations in the Cerasi Chapel," which appeared in the June 1959 issue of the journal "The Art Bulletin." Topics discussed include influence of philosophers Søren Kierkegaard and Maurice Merleau-Ponty on Steinberg's art historical line of thought, Steinberg's alternative reading of aesthetics and art criticism particularly that of Caravaggio's paintings, and his interest in contemporary art theory.

I did not want to 'invent' pictures, so my sources were in nature, which to me includes everything seen,' Ellsworth Kelly (1923-2015) once said. That an artist whose work seems [...]

This research is concerned with the study of (the lettering structure of the sacred letters in the contemporary Arabic formation), which worked on studying the structure of the Arabic letter within the limits of the sacred speech, and the great role that the speech played when it was embodied within the artistic works, whether it was drawing, sculpture or ceramics. The first is the preservation of Islamic heritage and arts, which were distinguished by the most important element in them, which is the Arabic letter and calligraphy, which gained their sanctity from the Noble Qur’an and the noble prophetic sayings. The researcher reached a number of results, including: 1- The contemporary literal structure of artistic discourses, with their different types and their preoccupations in Arabic formation, revealed divine connotations that are liberated from their rules. 2- Representing the literal structures in their abstract forms through dealing with the details, disposing of the mass, and manipulating the texture to broadcast a sacred discourse represented by simulating the essence, and by activating the technical feature within the formation of contemporary discourse and its data, which is a procedure to introduce sacred connotations to convey the meaning and undermine the similarity and simplify it with plastic and semantic dimensions.

Through unpublished letters written by Leonardo Ricci to his friend Leonardo Savioli in 1943 and 1944, the paper aims to trace the early period of the two architects' careers. The documents allow us to understand how the themes Ricci developed in both architecture and painting from the 1950s onward, and more fully in the 1960s, are present in his thinking as an artist and homme des lettres already from the years just prior to the projects for the reconstruction of the center of Florence. Moreover, the contribution highlights how Ricci also began, like Savioli, to design an imaginative “Ideal City” as early as 1943. His subsequent plans for new city pieces and his quest for the Integrated City are indebted to the feelings, aspirations and nightmares he experienced during the years of World War II.

This paper presents a preliminary scientific investigation of pigments used by Martiros Sarian, a prominent Armenian artist known for his vibrant and evocative paintings. The study focuses on five of Sarian’s paintings from different periods of his career, namely, Morning in Stavrino, Arabian Dancer, Caravan, Yerevan Zangu River, and Kirovakan, dated between 1909 and 1948. Non-destructive techniques, including micro-attenuated total reflection Fourier transform infrared (ATR-FTIR) spectroscopic imaging and X-ray fluorescence (XRF), were employed to characterize the pigments in the samples extracted from these paintings. The results reveal the presence of various pigments, including ultramarine blue, cobalt blue, cobalt cerulean blue, viridian, emerald green, cobalt green, celadonite green, cadmium yellow, chrome yellow, Venetian red, yellow ochre, red ochre, lead white, zinc white, and calcium carbonate. Additionally, metal carboxylates and oxalates, degradation products associated with the paint layers, were observed and discussed. The findings contribute to a better understanding of Sarian’s artistic technique and provide valuable insights for the conservation and restoration of his artworks.

This paper aims to provide the urban-sociological context for the significant proliferation of the topic of Christ Cleansing the Temple in 16th-century painting. Widely accepted interpretations of this phenomenon consider it exclusively in the context of the Counter-Reformation, i.e. the Catholic Revival, considering the topic to be a symbol of the rejection of Protestant dogma or, otherwise, the Church's struggle against the demoralization of its clerics. The Counter-Reformation context is indisputably significant. However, certain socioeconomic processes that mark the 16th century, such as the development of protocapitalism in Italy, i.e. the establishment of year-round trade in the city and the emergence of a new, politically and economically dominant class of merchants and bankers, also emerge as an aspect worth examining. French sociologist Henri Lefebvre considered the 16th century to be a turning point in the development of urban forms and pointed out the connection between this biblical story and the disdain for the restructuring of the city which was due to those changes. Owing to his theses on the production of space, we will observe a dual involvement of the Church in the motions of inhibition and initiation of processes which, by producing a new type of space, disrupt the balance that ensured its material and symbolic power.

Статья посвящена философским аспектам экспрессионизма в живописи первой половины XX века. Рассмотрены истоки и предшественники экспрессионизма, философские школы и основные идеи, на которые опирались представители данного направления, показано их своеобразное преломление в работах теоретиков экспрессионизма и в произведениях ведущих художников. Выявлены различные и часто противоречивые интерпретации ряда основных идей, в том числе идеи единства мира и роли чувства в художественном творчестве. Отмечено, что само стремление экспрессионистов понять природу художественного творчества, сущность и специфику искусства; осознать его место не только в рамках человеческой культуры, но и самого Бытия заслуживает внимания и что многие вопросы, поднятые экспрессионистами, сегодня незаслуженно ушли на второй план в исследованиях не только искусствоведов, но и представителей философии искусства, хотя здесь огромное пространство для дальнейших исследований.

Статья посвящена творчеству якутского живописца Зинаиды Курчатовой. Цель работы — изучение творчества, выявление особенностей пластического и образного языка художника, работавшего в таких жанрах, как портрет, пейзаж, тематическая картина. С помощью искусствоведческого анализа были установлены композиционные и колористические приемы, трактовка образов автором. Особое внимание уделено пейзажу: колоритный, лаконичный, наполненный эмоциональной глубиной, лирико-эпичным содержанием, он повествует о красоте северной земли и открывает мировидение автора. Обзор выполнен на основе монографической коллекции З.К. Курчатовой, хранящейся в собрании Национального художественного музея Республики Саха (Якутия). Данная статья приоткрывает практически забытую страницу о творчестве члена Регионального отделения Союза художников Якутии, Союза художников России Зинаиды Курчатовой. Работа впервые публикует и вводит ее наследие в научный оборот. Материал актуален для осмысления творчества живописца и для представления более полной панорамы якутского изобразительного искусства второй половины ХХ века.

В статье делается попытка периодизации раннего творчества знаменитого ленинградского абстракциониста Е.Г. Михнова-Войтенко и выделения основных особенностей его художественного языка в 1950–1960-е годы. Михнов-Войтенко является признанным, но до сих пор малоизученным художником. В основном в работах, посвященных его живописи, внимание уделяется 1970–1980-м годам, а также циклу «Тюбик» (1956–1959), тогда как ранние фигуративные работы, коллажи и графические серии 1960-х годов исследователи обходят стороной. Для характеристики произведений использованы методы формального и компаративного анализа. В статье выделяется три периода творчества художника — фигуративный, коллажный и графический. Несмотря на разнородные по характеру произведения, создаваемые художником в это время, определены черты художественного языка, присущие всему периоду в целом. К таковым относятся особая ритмическая организация каждого произведения, работа с пятном и линией, а также целостность, монументальность формы, вызванные стремлением отразить весь мир полностью в границах каждого отдельного произведения — конкреции. В заключение делается предположение о том, что данные особенности могут стать ключом к пониманию позднего творчества Михнова-Войтенко 1970–1980-х годов.

This series of artworks explore the human perceptions of space, presence, belonging, communication, movement, resilience, and regrowth during the ongoing pandemic in New York City. In a dynamic spatial ontology, past-present-future palimpsests exist as our spatiotemporal perception of reality. Current pandemic trapped humans (including myself) in situ, and, in a way, recontextualized human social spatiability and psychogeographic perception of space, adding layers of introspection. During lockdowns, as the only means to communicate with other people was via digital technologies, entire life (work, school, religious service, exercising, entertainment, socializing, dating, etc.) moved online. This new spatiotemporal reality emerged as a form of resilience and solidarity in the time of crisis. New York City, the city that never sleeps, started to buzz again. In a dance between the real and the imaginary, the transient and the permanent, on and off screen, the virtual and the real, online and in-person, between here and there, appears the space in between, populated with traces, imprints, voices of the voiceless, and opportunities for regrowth. This newly created mashwork inspired my painting series “Buzzing Calligraffiti” where multiple realities, spaces, cultures, and points of view coexist in a buzzing harmony. These paintings (painted with natural and manmade pigments - acai juice, ink, color pencils, and blue watercolor) are a bridge between cultures, aesthetics, and points of view (calligraphy and graffiti), as well as a bridge between nature and the city.  The work represents a unity in difference - at the same time a cultural unity and a unity where non-human and human nature coexist in harmony.

What happens when the present (perceived or real space) is ‘conceived’ (as artwork) from memories of a lived experience?According to Lefebvre, ‘representational space’ is space as directly (or lived) experienced by users through “associated images and symbols” (p. 39); one that is passively experienced or felt – “a space which the imagination seeks to change and appropriate” (1974/1991, p. 39).Like New York City and perhaps other cities in urban India, Pune has been experiencing rapid transformation where the urban landscape is dotted with high-rise developments in residential, industrial, institutional and commercial sectors. However, Pune has a unique urban landscape given its geographical locational advantage of being nestled in the rich and biologically diverse Sahyadri mountain range or the Western Ghats. As a result, the city boasts of small hills that are marked by urban planners, technocrats, and those in power as bio-diverse areas - spaces where no urban transformation may be permitted. This leads to a type of development that constantly struggles between accommodating the demands of the influx of migrants from other towns and cities and Pune’s natural landscape.In this context of urban transformation of Pune city and my personal journey of moving from New York City to Pune in 2013, I use painting as a medium to unpack my decade long personal journey of change. In total, there are five artworks, where each piece reflects ‘representational space’– i.e., space as directly experienced by me using vivid colors and abstract shapes.The five paintings are chronologically positioned based on the year of completion. As a result, when viewed in order, the artworks tell a story of change – of crossing over (the bridge) from a life of a graduate student /researcher /lecturer in New York City to a life of a PhD scholar/ mother/ wife/ daughter/ working professional in Pune city. Through each art piece, I lean into the theme of ‘urban nature’ to share my subjective experiences. When you look closer, each art piece, much like Pune’s demanding urban landscape, represents a story of change, challenge, acceptance, and resistance.