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The article attempts to interpret several of Teresa Ferenc’s poems included in the volume Pieta, published in 1981. The selected works combine the motifs of home, mother and the girl who is the author’s porte-parole. Written from the perspective of the trauma experienced in childhood: the burning of the family village and the death of her parents, we find numerous biblical allusions and cultural contexts, the explanation of which is the subject of this study. An attempt has been made to demonstrate the richness of the poetic imagery, the source of which can be traced back to extreme experiences.

This article considers the vitality of the left hand of Christ in a monumental Pietà panel painting by the Italian Renaissance artist Sebastiano del Piombo (born Sebastiano Luciani, ca. 1485-1547) and a vital link between this hand and the left hand of Adam in the Creation scene on the Sistine Chapel ceiling by Michelangelo (1475-1564). Sebastiano's work was made in the central Italian city of Viterbo around 1512 to 1516, and shows a seated Virgin Mary grieving the death of Christ, her son, whose body lies on the ground in front of her. The article focuses on the representation of Christ's body, identifies a gap between the fingers of Christ's hand and his thigh underneath, and explores this gap's significance as a sign of life. It first reveals a close and as yet not remarked upon connection between the hands in the Pietà and the Sistine Chapel. Through consideration of a series of sketches and drawings that highlight the close working relationship between Sebastiano andMichelangelo during and around the years of the Pietà's production, the likelihood that the left hand of Christ in Viterbo was designed by Michelangelo is confirmed. The hand was probably sent to Sebastiano as a drawing from which he worked a cartoon. By examining the iconography of the painting and its associations to Adam's spirited hand in Michelangelo's Creation alongside biblical passages and a popular religious text, the Meditations, the article argues that the restless left hand of Christ in Sebastiano's Viterbo Pietà is a symbol of Christ's Resurrection. [ABSTRACT FROM AUTHOR]

The article discusses different approaches to the problems of restoration of marble sculpture in terms of the philosophical justifications taken towards the artworks. One of the aims of the paper is to contrast the approach taken towards the subject of restoration by Western philosophers and to compare that with the field of conservation. A few brief paragraphs frame the discussion of restoration. The nature of the fragment in its historical and aesthetic duality is then discussed, taking a brief incursion into the topic of supervenience. Michelangelo's Pietà and its restoration, following from extensive damage caused in 1974 by a museum visitor, results in a series of disputations between writers who favour a purist restoration and those who prefer an aesthetic reintegration of the work. The work of several philosophers who have written about sculpture and restoration is reviewed. The Pietà case study is contrasted with the restoration of the Lansdowne Heracles in the Getty Museum. It is essential to also consider here marble sculpture in terms of works that have been re-restored, de-restored, and deceptively partially restored, taking as a seminal example of the latter, the Adam by Lombardo in the Metropolitan Museum of Art. The conclusion attempts to bring together some of the issues raised in the paper, including a discussion of the extent to which information is displayed in the museum for the benefit of the observer, and the importance of the role of the conservator in all aspects of the de-restoration and re-restoration of marble sculpture. [ABSTRACT FROM AUTHOR]

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Recent scholarship on Raffy Lerma's Pietà is generally optimistic about the potential of the photograph to unravel state power and challenge normative perceptions of liberal democracy vis-à-vis populism. Contrary to these readings, I follow Vicente Rafael in speculating on "the limits of photographic intervention in the drug war" by suggesting that the Pietà, an image that is supposedly emblematic of liberal resistance, unwittingly reiterates Rodrigo Duterte's necropolitical order. This gesture is an attempt to fulfill Jacques Rancière's desire for a radical politics where we can freely question the very critiques that aim to expose and unravel Duterte's aesthetic regime. My essay critically examines the aesthetic and affective dimensions of Lerma's photograph, arguing that aesthetic representations of what Giorgio Agamben calls "bare life" became a point of "dissensus" that does not necessarily challenge the state. Rather, I suggest that the photograph might have furthered Duterte's "affective politics of fear" as it legitimized the Drug War in the eyes of the political majority. I look at how this image was able to induce various affective intensities and responses such as fear and optimism from both the political minority and the political majority. These affects contributed to the aestheticization of Michael Siaron and Jennelyn Olaires (the subjects of the photograph). The aestheticization of bare life arguably reduced these aforementioned subjects into a mere point of contention between the majority and the minority. I also argue that Duterte's administration was able to subvert the religious dimension of Raffy Lerma's Pietà by portraying the Drug War as a messianic act that is necessary to save the majority. Finally, I explore how populism was able to subvert the idea of the Messiah and the notion of salvation into a fathomable concept for the majority where it is justified to sacrifice thousands of lives for true political change. [ABSTRACT FROM AUTHOR]

An essay exploring a particular pietà iconography in the work of Darrel Ellis, related to the art world context of his life in 80s New York City. [ABSTRACT FROM AUTHOR]

Copyright of Palíndromo 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.)

This article considers the thematic and textual affinities between Dante Alighieri's and Geoffrey Chaucer's ekphrastic explorations in Purgatory 10 and House of Fame 1. In these episodes, both narrators become observers as they examine engravings of significant events. Evaluating characters, stories, and images, and contemplating the convoluted relationship between artistic representation and truth, Dante and Geffrey diverge in their attitudes toward emotional response to art. While Dante consistently refuses to allow the visual narratives to emotionally impact him, Geffrey is deeply moved by Dido's portrayal. Though the narrators' reactions to the decorated walls are contrasted, both are informed by the same search for truth within artistic depiction, be it image or text. Thus, for Dante, avoiding emotional engagement is a prerequisite for discerning the doctrine underlying the scenes he views, whereas for Geffrey, compassion for the illustrated figures is precisely what prompts him to reject such representations and search for truth elsewhere. [ABSTRACT FROM AUTHOR]

This paper is the critical account of some of the contributions of the thesis defended by Me S. Boisset-Boisset on medieval sculpture in Western Savoy, 1480-1530, at Grenoble Alpes University, in November 2015. It is supported by a rigorous investigation on a corpus of approximately 300 statues or groups of sculptures in which the author identified original series such as the Savoyard Virgin of Pity or quality works dedicated to local saints of international renown such as St. Anthony in Vienna (France). The meticulous formal analysis of the sculptures led her to isolate a group of forty-five witnesses from workshops or itinerant artists produced in the Chambéry region. The commissioners of these works could be the officers of the ducal administration, living in Chambéry and the surrounding area, the city still being the administrative and political capital of the duchy of Savoy.

Leseni kip Pietà v koprski stolnici, ki je bil leta 2016 v vandalskem napadu poškodovan, je bil podrobneje obravnavan že leta 2005 in pogojno označen kot beneško delo iz sredine 15. stoletja pod vplivom muranske slikarske šole. Novejše odkritje kaže, da gre po vsej verjetnosti za padovansko delo, prav tako iz sredine 15. stoletja. Doslej namreč ni bil opažen približno sočasni kip Pietà v Piove di Sacco, ki je nedvomno delo iste roke kot koprski in ga lahko povežemo s slikarstvom Squarcionejevega kroga.

U članku se raspravlja o kasnogotičkoj skulpturi Pietà koja se nalazi u stalnom posta- vu Pomorskog i povijesnog muzeja Hrvatskog primorja u Rijeci. Riječ je o drvenom kipu sa slabo sačuvanim tragovima polikromije i pozlate. Skulptura je nađena 1920. na tavanu župne crkve Marijinog Uznesenja u Rijeci. O kipu je pisala Vanda Ekl te ga je datirala u kraj treće četvrtine 15. stoljeća, ne odredivši mu pobliže krug nastanka ni povijest. Putem stilske analize, kao i niza tipoloških i oblikovnih podudarnosti, Riječku Pietà moguće je povezati s drvorezbarom Leonardom Thannerom iz bavarskog Lands- huta aktivnom u Furlaniji u drugoj polovici 15. stoljeća. Za komparaciju s kipom u Rijeci ključna je Thannerova drvena polikromirana grupa Oplakivanja Krista iz crkve Santa Maria della Fratta u San Daniele del Friuli nastala 1488. godine. Na temelju ar- hivskih podataka rekonstruira se povijest te izvorni smještaj kipa. U tekstu se po prvi puta objavljuje skulptura Oplakivanja Krista recentno pronađena u Rijeci, a može se povezati uz radionicu ili krug furlanskog kipara Giovannija Martinija i okvirno datira- ti u prvu četvrtinu 16. stoljeća.

Frente a contextos de violencia política, surge la pregunta por los modos que tendría el arte y la visualidad de asumir una particular relación con el peso de lo histórico. El siguiente artículo aborda los textos que el crítico chileno-alemán Ronald Kay escribió durante la década de los 70´s y los 80`s en Chile, sobre todo aquellos que interrogan insistentemente la relación entre imagen, historia y memoria. A partir de las filiaciones que el crítico mantiene con la obra de Eugenio Dittborn, nos hemos detenido en el motivo de la Pietà como vía de acceso a una reflexión sobre la imagen en el contexto de un tiempo doliente. Una imagen que, atendiendo su fragilidad, asume una amorosa labor de resguardo, acogida y protección. Se trata, en otras palabras, de asumir la pregunta por el poder que tendría la imagen del arte para poner a salvo aquello que se pierde en tanto que se pierde.

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The essay is dedicated to the Pieta of Všeměřice, important sculpture of high quality from the beginnings of the Late Gothic art in the Czech lands. On the basis of the formal analysis of the works of Master of Týn Calvary, of the summary of research in art history of his work and investigation of a few preserved archival primary sources to this theme the author draws a new conclusion that the Pieta of Všeměřice was created in the 1420. The essay argues for the thesis that the author of the Pieta was either Master of Týn Calvary himself in the late stage of his creation or some of his excellent collaborators.

No contexto da literatura greco-latina, poucas figuras são simultaneamente tão fascinantes e obscuras como Mémnon. Através de uma breve análise das fontes literárias e iconográficas, este artigo começará por recapitular o que ainda sabemos sobre este herói para, num segundo momento, avaliar a possível influência de um dado esquema iconográfico, em que ele se encontra incluído, na arte cristã.

Parafia w Konopnicy w ziemi lubelskiej i archidiakonacie lubelskim datuje się na XIV wiek. Obejmowała trzy wsie położone koło siebie: Konopnicę, Radawiec i Uniszowice. Pod koniec XVIII wieku parafia liczyła już sześć wsi, obok wyżej wspomnianych miejscowości, także Radawczyk, Motycz i Sporniak. Zmiana granic parafii dokonała się dopiero w okresie międzywojennym, kiedy powstała parafia w Motyczu. Uposażanie kościoła zostało nadane przez magistrat miasta Lublina w 1428 r. Najstarszy kościół drewniany pw. św. Katarzyny został zastąpiony po 1650 r. murowanym, konsekrowanym w 1667 r., zbudowanym na cyplu wysuniętym w dolinę rzeczki. Kościół nosił wówczas wezwanie, oprócz dotychczasowego św. Katarzyny, również Wniebowzięcia NMP. Następcą tej świątyni jest wzniesiony w latach 1904-1906 kościół neogotycki, według projektu Władysława Siennickiego, który funkcjonuje do dziś dnia i został wybudowany w innym miejscu niż poprzednia świątynia. Decyzja o jego wzniesieniu wynikała z rosnącej liczby mieszkańców parafii, złym stanem technicznym dotychczasowego kościoła oraz wytyczeniem szosy kraśnickiej, która stała się głównym traktem prowadzącym z Lublina do Kraśnika. Po wzniesieniu nowego kościoła, budynek starej świątyni z XVII wieku popadł w zapomnienie i w latach międzywojennych uległ rozbiórce. W kościele w Konopnicy znajdowała się gotycka figura Piety, która aktualnie jest przechowywana w Muzeum Narodowym w Poznaniu. Rzeźba uchodziła za słynącą łaskami i cieszyła się lokalnym kultem. Umieszczona była w głównym ołtarzu. Corocznie w święto Siedmiu Boleści Maryi, w piątek przed Niedzielą Palmową odprawiano mszę św. odpustową z wystawieniem Najświętszego Sakramentu. Szczegółowe opisy parafii i kościoła parafialnego w Konopnicy pochodzą z wizytacji kanonicznych, w których na przestrzeni lat zapisywano stan zabudowań kościelnych. Do zabudowań parafialnych oprócz kościoła należała plebania, mieszkania sług kościelnych, szpital oraz budynki gospodarcze (m.in. wozownia, stajnia, chlew, spichlerz, browar). Nowy cmentarz parafialny, który zastąpił przykościelny, powstał w początkach XIX wieku i aktualnie wpisany jest w rejestr zabytków.

On the threshold of the new millennium, violent political incidents and natural phenomena have triggered a reconsideration of the theater and performance representation of death and burial sites. My present intention is to discuss recent aesthetically and ideologically unconventional representations of burial sites through the examination of the work produced by Teatr Zar, Marina Abramović and Leda Papakonstantinou so as to show that burial sites still form the symbolic sub-terra of the contemporary Agora as they did in classical democratic Athens. Burial sites are seen as places of contest that can be transformed into public spaces of democratic deliberation and reconciliation in our contemporary condition of increasing precarity. Such performances are discussed as forms of embodied and plural performativity, as unconventional gatherings of precarious bodies, dead and alive, indigenous and foreign, in the public democratic sphere, which are both aesthetically and politically significant events. As all the performing bodies are female, I also propose that they offer through their own work unconventional renderings of burial sites by refusing, among other things, an uncritical performance of the tropes of the Monstrous Mother and/or Mater Dolorosa (Pietá). [ABSTRACT FROM AUTHOR]

Filial piety forms the core of human relations in Confucian morality. One form of filial piety is 'filial cannibalism', a term for incidents in which children offer their own flesh to their parents out of filial piety (Wang, Sixiang. 2012. "The Filial Daughter of Kwaksan: Finger Servering, Confucian Virtues, and Envoy Poetry in Early Chosǒn." Seoul Journal of Korean Studies 25 (2): 175–212). One method of filial cannibalism during the Joseon dynasty in Korea (1392–1910) was thigh slicing. This motif appears in Kim Ki-duk's film Pietà, in which the male protagonist Gangdo slices his thigh and offers his flesh to Miseon, a woman pretending to be his mother. While many studies on Pietà examine the Christian references and decode the film's title as a reference to compassion, this study suggests there is also value in examining Confucian references. The act of cannibalism in the film can be understood as initiation of compassion and filial piety, although it is still clear that the relation between Gangdo and Miseon is based on betrayal and revenge. Arguably, filial piety– the very core of Confucian morality– can be understood as representative of Confucianism itself, similar to the way that compassion is one of the central concepts of Christianity. The film's disturbing usage of both concepts seems to reveal what Steve Choe calls the 'possibility of ethical impossibility' (Choe, Steve. 2007. "Kim Ki-Duk's Cinema of Cruelty: Ethics and Spectatorship in the Global Economy." Positions 15 (1): 65–90). [ABSTRACT FROM AUTHOR]

This article proposes to study a singular and paradoxical community of figures identified in three films created in the political and revolutionary context of the sixties : in Children Out of Tune (P. Garrel, 1964), Acéphale (P. Deval, 1968), and Gods of the Plague (R. W. Fassbinder, 1970), survives the figurative pattern, inherited from christian painting, of a pietà. The first step is to consider the dialectical potential of this exemplary pathetic gesture, and to understand how it can also serve as a starting point for the expression of a critical and political position. The question then arises of the period of an anthropological crisis, especially described by P. P. Pasolini and E. De Martino, which led to the reinvestment of these religious symbols and the role they thus play as medium of a memorial safeguard and a spiritual shelter. Finally, it is a question of considering the necessary political dimension that the religious pathos may bear when it reappears at times when revolution, emancipation and salvation must be thought together.

Focussing on the response to the Vatican Pietà and perversely using as a point of departure a 1549 remark on Michelangelo as an ‘inventor of filth,’ this article aims to present Michelangelo as an involuntary inventor of devotional images. The article explores hitherto unconsidered aspects of the reception of the Vatican Pietà from the mid-sixteenth into the early seventeenth century. The material includes mediocre anonymous woodcuts, and elaborate engravings and etchings by renowned masters: Giulio Bonasone, Cornelis Cort, Jacques Callot and Lucas Kilian. A complex chain of relationships is traced among various works, some referring directly to the Vatican Pietà, some indirectly, neither designed nor perceived as its reproductions, but conceived as illustrations of the Syriac translation of the New Testament, of Latin and German editions of Peter Canisius’s Little catechism, of the frontispiece of the Règlement et établissement de la Compagnie des Pénitents blancs de la Ville de Nancy—but above all, widespread as single-leaf popular devotional images.

This work aims to shed light on Elsa Morante’s portrayal of Antigone in La serata a Colono (1968) and suggests that, behind Antigone’s apparent innocence and illiteracy, Morante develops the prototype of an idiot savant, which perfectly dialogues with María Zambrano’s conception of the idiot that the Spanish philosopher describes in España, sueño y verdad (1965). The present study contends that Zambrano’s work can be considered an exemplary source for Morante’s La serata a Colono and specifically for Antigone’s portrayal, since this character shares with Zambrano’s idiot several qualities. Despite Antigone’s ‘primitive’ and ‘barbarous’ mind, the idiot ‘ragazzina’ is able to grasp truths about reality which primarily rationalistic forms of knowledge are unable to comprehend. She can also see the world’s decline and offer effective alternatives to the conflicts of the twentieth century, such as pity and care for the other. Further evidence of Antigone’s special kind of idiocy can be found in her ungrammatical language, which is highly ‘performative’ and spoken by a subject who represents a new form of humanity. In endowing Antigone with such an idiom, I argue that Morante anticipates some tenets of Judith Butler’s interpretation of the Greek heroine, as presented in Antigone’s Claim. [ABSTRACT FROM AUTHOR]

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) 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 focuses on French miniature painter and manuscript illuminator Jean Poyer and considers the influence of Italian Renaissance painter Pietro Vannucci, dit le Pérugin, on his work. Topics of discussion include illuminations inspired by Italian art in Poyer's book of hours "Heures de Henri VIII," art collector Claude Gouffier, and Pérugin's paintings "Pietà" and "Madone à l'enfant."

This article examines the foregrounding of Catholic iconography in three 1943 Fascist war films:Quelli della montagna(Aldo Vergano),Il treno crociato(Carlo Campogalliani), andI trecento della settima(Mario Baffico). By portraying armed conflict not in terms of victory and defeat, but as momentary struggle on the path to salvation, this particular kind of cinema moved away from national bombast, or at least tempered it, and rewrote deprivation as abnegation, defeat as providence, and death as martyrdom. In this context, the fallen soldier becomes aEucharistic Body: a ritualistic offering of the transubstantiated body of a sacrificial lamb to the congregation (the audience and the nation), who by taking part in this cinematic communion acknowledges his immolation and accepts military defeat as the will of a higher power. [ABSTRACT FROM AUTHOR]

The article deals with the methodology of art history; based on the interpretation of Pietà by Tadeusz Boruta, it argues the need to analyze how pictorial representation (motifs, forms, colour, texture) is related to the plane of the painting. The multi-layered meaning of Boruta’s work emerges from the fact the painting brings to light the inscription of motionless figures in the structure of temporality, where “before”, “after”, and the immediate “now” of the seeing process are distinguished. This structure sends a message about the essence and mission of the human life of Christ, and the incarnation of God, which is directed at every human being in the Eucharist.

Een Kruisiging en een Pietà van Michelangelo voor de ‘spirituali’Maria Forcellino reconstrueert de verschillende fasen van haar onderzoek rond twee paneelschilderingen, een Kruisiging en een Pietà. Op grond van stilistische kenmerken en materiaaltechnische gegevens, kunnen deze paneelschilderingen toegeschreven worden aan Michelangelo Buonarroti. Zij waren bekend in de groep van ‘spirituali’, religieuze hervormers met wie de kunstenaar nauwe betrekkingen had in de jaren dertig en veertig van de zestiende eeuw. Samen met haar broer, de kunsthistoricus en restaurator Antonio Forcellino, begon de schrijfster enkele jaren geleden aan de zoektocht naar de twee schilderijen. Inmiddels is, mede door middel van infrarood-reflectografie, de toeschrijving aan Michelangelo nader bevestigd.

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In this paper, I consider Mark Sagoff’s well-known discussion of the restoration of Michelangelo’s Pietà (1978). Provocatively, he argues that the Pietà should not have been restored to its undamaged state after it was attacked. I argue that Sagoff is mistaken in this. His analysis of restoration is a result of his working view of the Pietà’s identity. Using a modal analysis of counterfactual damage to the Pietà, I argue that the notion of identity at work in his view is deeply problematic. I provide an alternative analysis of the Pietà: one which supports the restoration project, provides an alternative metaphysical basis for the identity of the work, and which still captures certain aesthetic intuitions which Sagoff has correctly identified. Whilst my metaphysical analysis is proposed just on the basis of the case of the Pietà, the metaphysical and conceptual analysis involved would be helpful in considering issues in the identity of artworks more generally. [ABSTRACT FROM AUTHOR]

O artigo propõe criar um diálogo ou aproximação livre entre o poema Pietà, de Rainer Maria Rilke e a escultura de mesmo nome do escultor renascentista Michelângelo. No centro da relação, a ideia de que a arte e o artista mergulham nas “dores do mundo” para trazerem de lá a promessa de felicidade que é a beleza da criação. O ensaio de Todorov sobre Rilke, do qual fizemos uso frequente aqui, é a base para se pensar essa ideia.

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The article focuses on the involvement of composers Antonio Lucio Vivaldi and Francesco Gasparini in the depiction of Mary Magdalene and the musical activities of women at the Pietà in Venice, Italy. Topics discussed include an overview of the musical works of Vivaldi and Gasparini, their contribution to the Pietà, and the musical activities of the women at oratorio.

In this paper, I analyze two poems from Rainer Maria Rilke's Neue Gedichte in which the act of seeing attains a poetic status, namely 'Orpheus. Eurydike. Hermes' and 'Pietà.' This ocular poeticity derives not merely from the visual features of the beheld objects, but more fundamentally from the temporal implications of seeing. In the crucial scene of 'Orpheus. Eurydike. Hermes,' an instance of third-person observation is recounted as narrative retrospection, while in 'Pietà,' a first-person observation is narrated in the moment as a subjective concatenation of temporal categories. These valences of the gaze are further traced in two artworks which are thought to have inspired the poems: a Roman bas-relief depicting Orpheus, Hermes, and Eurydice, and Auguste Rodin's Le Christ et la Madeleine. In the poems and their statuary antecedents, it is not what is seen but rather the temporal substrate of seeing that indexes the gaze as variedly poetic, and consequently as intrinsic to subjectivity. [ABSTRACT FROM AUTHOR]

The Pietà was introduced in Swedish medieval art during the late fourteenth century and this article is focussing on its expressions of grief and death. The popularity of the Pietà can be explained by the historical context (the Black Death and the Hundred Years War), hard times that made death and despair extremely present, connected to sin, and a common experience for all no matter of social hierarchies. Virgin Mary is a vital part in the Pietà as she is both an intercessor for humans who wants forgiveness for their sins and the voice of her son’s message since he can speak no more. It is through her story, experience and grief that humans can both understand and find the merciful love Christ has promised after death that will guarantee eternal life in Heaven.

This work focalizes on the third part of Victor Hugo's Quatrevingt-treize: "En Vendée", in particular on the sixth volume, ("C'est après la victoire qu'a lieu le combat") and on the seventh (“Féodalité et révolution”). The aim is to cross the historiographical perspective inscribed in the novel with the analysis of how Hugo, through the characters construction, expresses the moral conflict that marked the years of the French Revolution and then characterized the Jacobin ideology during the Reign of Terror.