Artibus et Historiae最新文献

{"title":"The Dutch Guardroom Scene of the Golden Age: A Definition","authors":"Jochai Rosen","doi":"10.2307/20067114","DOIUrl":"https://doi.org/10.2307/20067114","url":null,"abstract":"This study aims at defining a particular genre formula known to contemporaries as a Cortegaerdje — a guardroom scene. It was created and developed by a group of so-called minor masters in the Dutch Golden Age. The purpose is to reach an optimal agreement between a certain visual formula and this contemporary title or its variants. This is done through a systematic comparison with various martial and other relevant genre themes and assigning each its designated contemporary title. The guardroom scene is a genre painting depicting an interior of a temporary nature, hosting soldiers and their camp followers passing the time in various activities. It is free of any violent action, and it usually appears respectable and in some cases even merry. It might, however, include the results of violent actions, such as beseeching hostages and booty. The guardroom scene usually does not revolve around a clear subject matter, but is a collection of motifs, anecdotes, and notions. The guardroom scene gave the middle-class man, nesting safely at home, a restrained drama devoid of violence while touching his social sensitivity.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"27 1","pages":"151-174"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067114","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ideal and History. Johann Wolfgang Goethe's Collection of Prints and Drawings","authors":"J. Grave","doi":"10.2307/20067115","DOIUrl":"https://doi.org/10.2307/20067115","url":null,"abstract":"During his life, Goethe collected about 11,500 prints and drawings which spanned all epochs. Not limited to works by his favourite artists, his collection is remarkable for its wide scope. Goethe's practices of collecting show striking similarities to his methods of research in the field of natural science. This article proposes that these methods enabled him to define a general concept of art which exists beyond the individual, thus historically based works.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"53 1","pages":"175-186"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067115","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The \"Odyssey\" Cassone Panels from the Lanckoronski Collection: On the Origins of Depicting Homer's Epic in the Art of the Italian Renaissance","authors":"J. Miziołek","doi":"10.2307/20067110","DOIUrl":"https://doi.org/10.2307/20067110","url":null,"abstract":"It is difficult to remember today that the Odyssey was translated into Latin and thus became an important element of Western civilisation as late as on the eve of the age of the Renaissance. In the middle of the 15th century in Florence, Apollonio di Giovanni produced the earliest narrative illustrations of Homer's epic in post-antique art. They adorn four long panels on wood which originally constituted the fronts of cassoni or marriage chests; two of them, once in the collection of Count Karol Lanckoronski in Vienna, have, since October 1994, belonged to the Royal Castle in Krakow. Despite their notable artistic qualities and the fact that they provide the most complete depiction of the adventures of Ulysses in early-Renaissance art, the Lanckoronski Odyssey panels have never been the subject of a separate study. The present paper seeks to fill this gap; it investigates Apollonio's literary sources, the models for the numerous scenes he depicted, and the context in which his Odyssey panels were produced. Furthermore it answers the question: What could have been the message being conveyed to the newly weds by the panels in question? Thus this paper is also a contribution to the research on Apollonio di Giovanni's connections with humanism and also 15th-century archaeology.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"27 1","pages":"57-88"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ein unbekannter Heiliger Franziskus in Ekstase des El Greco in Polen","authors":"Izabella Galicka, Hanna Sygietyńska","doi":"10.2307/20067126","DOIUrl":"https://doi.org/10.2307/20067126","url":null,"abstract":"In 1964 our work on an inventory of monuments of the Podlasie region (Eastern Poland) led to the discovery - in the church of the village Kosow Lacki - of a painting by El Greco showing St. Francis in Ecstasy. The much dirtied and partly overpainted canvas has been subjected in 1974 to an extensive restoration which uncovered the original signature of the artist (\"Domenikos Theotocop...\") and some pentimenti. The results of the technological investigations confirmed the attribution of the painting to El Greco formulated by the authors in 1964. Owing to problems of Church and State relations, the painting remained in virtual seclusion until October 2004, when it was put on view in the newly opened Diocesan Museum in Siedlce (Masovia). The nearest analogy to the painting from Kosow Lacki is provided by El Greco's Stigmatisation of St. Francis in the Madrid Abello collection (formerly Pidal collection) painted around 1580. In our analysis we have shown that in the Kosow Lacki painting the painter did initiate - though in a hesitant way - an iconographic formula of the Stigmatisation of St. Francis that was later developed fully in his depiction of the theme in the Abello collection. Thus the painting from Kosow Lacki provided also a model for most paintings in El Greco's St. Francis series, which is now dispersed all over the world. Both the Abello and the Kosow Lacki versions are undoubtedly autograph works; they were repeated in numerous variants or copies (a dozen or so) produced by his workshop or by his copyists. We also would like to put forward the hypothesis that El Greco had been the first artist to introduce - probably under the influence of the writings of St. Peter of Alcantara - into the scene of St. Francis's ecstasy and stigmatisation the motif of the skull. As a date for the Polish painting from Kosow Lacki we propose the end of the 1570s. It is not known how and when El Greco's St. Francis in Ecstasy reached Poland. It seems that before its apparition in Kosow Lacki (around 1927) it did pass through the art trade.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"27 1","pages":"147-160"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69062248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The \"Dance of the Seven Veils\". Salome and Erotic Culture around 1900","authors":"Udo Kultermann","doi":"10.2307/20067116","DOIUrl":"https://doi.org/10.2307/20067116","url":null,"abstract":"The theme of the paper is dedicated to the numerous and contradicting representations of Salome as a historical and legendary image. Beginning in medieval and post-medieval art (Lucas Cranach, Bernardino Luini, Guido Reni) the approach is disciplinary, including the visual arts, literature, music and film, as well as interrelations between these media. The transformations in the 19th century in literature (Heinrich Heine, Gustave Flaubert. J.-K. Huysmans and Stephane Mallarme) expand to the artists of the Salon (Gustave Moreau, Puvis de Chavannes) and manifested in a culmination in the \"Gesamtkunstwerk\" of Oscar Wilde, Richard Strauss and Aubrey Beardsley, merging theatre, music and the visual arts. The ongoing fame of the theme expanded in performances in music halls (Lois Fuller, Maud Allan, Mata Hari, Ida Rubinstein, Colette) to find a fascinating continuation in the new medium of film (Nazimova). The theme is analysed in its relevance for the contemporary situation of the position of women in the final chapter \"Unveiling Salome\".","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"27 1","pages":"187-215"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067116","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Sztuka\", \"Wiener Secession\", \"Mánes\". The Central European Art Triangle","authors":"Stefania Krzysztofowicz-Kozakowska","doi":"10.2307/20067117","DOIUrl":"https://doi.org/10.2307/20067117","url":null,"abstract":"The years 1897 and 1898 are regarded as the golden era for three art groups and three art journals in three separate centres of the Habsburg empire — the cities of Vienna, Cracow and Prague. It was at that time that the three art associations: Vereinigung bildender Kunstler Osterreichs — \"Wiener Secession\", Towarzystwo Artystow Polskich \"Sztuka\" [Society of Polish Artists \"Art\"], and Spolek výtvarných umělců Manes [Association of Artists \"Manes\"] were set up. The three groups maintained mutual contacts (however cold they proved to be), and jointly participated in many exhibitions, asserting at the same time their distinct national characters. Each of them possessed its own, specific kind of a \"temple\" and salon of art, where — beside exhibiting art — they introduced a new style of exhibition arrangement, using painted friezes, draperies, furniture, and above all — decorative shrubs, plants and festoons of flowers, which made the exhibition space look like a society drawing room or a garden house. The three associations closely collaborated with three art journals, set up almost simultaneously: Ver Sacrum in Vienna, Volne Smĕry in Prague, and Życie in Cracow, which on their pages united an analogous literary content with a beautiful layout and graphic design. The milieu which yield the three above-mentioned associations consisted of ARTISTS-GENIUSES, ARTISTS-NEUROTICS, ARTISTS-PRIESTS, and also ARTISTS-ACTORS who were ready to fulfil their great missions according to the principle of \"art for art's sake\". They had great reverence for Romanticism, disposition for melancholy, irrationality, apathy, and eagerly referred to symbolism, and decadence. At the same time, they were ready to cause scandals, defending their beliefs, eager to participate in sophisticated parties and frequented outrageous cabarets cafes — the \"seats of debauchery and all kind of evil\". After 1905 there followed a decline of the idea of egalitarianism of art and its emotional values; the conviction of the artist's special mission in society was abandoned and the new generation of artists, both in Vienna, Prague, as well as in Cracow, in their aggressive manifestos and programs heralded radical changes to the arts. The outbreak of World War I, the collapse of the Austro-Hungarian Empire, and the recovery of national sovereignty by the Czechs and the Poles had written the last act in the drama of mutual contacts between the Vienna Secession, the Prague Manes and the Cracow \"Sztuka\".","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"27 1","pages":"217-259"},"PeriodicalIF":0.0,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067117","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Recovered Modello of P. P. Rubens' \"Disembarkation at Marseilles\". The Problem of Control and Censorship in the Cycle \"Life of Maria de' Medici\"","authors":"J. A. Chrościcki","doi":"10.2307/1483784","DOIUrl":"https://doi.org/10.2307/1483784","url":null,"abstract":"The cycle Life of Maria de' Medici painted by Peter Paul Rubens, which was executed by the artist for the Western Gallery in Palais du Luxemburg in Paris (1622-1625), was subject to political control, first and foremost by the entourage of the Queen Mother herself, and in the final stages also by King Louis XIII. One of the proofs of the existence of a system of control over the cycle are Rubens' bozzetto and modello for Disembarkation at Marseilles. The bozzetto, dated 1622, is in the collection of Alte Pinakothek in Munich, the modello - in a private collection and has not so far been described at length in literature. The modello was executed by Rubens; it may have been completed with the help of Rubens' then co-worker, Justus van Egmont. The sense of the changes in the composition of Disembarkation of Maria de' Medici at Marseilles (bozzetto - modello - painting) can be explained by the likely intervention of one of the clergymen (probably Abbe Saint-Ambroise) from the Queen Mother's immediate entourage. After the rejection of Rubens' original composition (bozzetto in the Alte Pinakothek in Munich), the artist had to paint another painting - modello (which by definition is larger in format than bozzetto and represents a greater degree of precision with regard to detail) in order to win the court's approval for the new composition. It is the only painting which exists in an intermediary format in-between a sketch (bozzetto) and a large-sized, monumental painting from the Louvre. The modello must have originated after the bozzetto; it was probably painted in Paris in May 1623, due to controversies which arose around the final version of The Disembarkation at Marseilles.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"221-249"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483784","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Peter Paul Rubens, Galileo Galilei Und Die Schlacht Am Weißen Berg","authors":"L. Konecný","doi":"10.2307/20067098","DOIUrl":"https://doi.org/10.2307/20067098","url":null,"abstract":"P. P. Rubens's Apocalyptic Woman, painted 1623-1625 for the cathedral of Freising as its altarpiece, and now in the Alte Pinakothek in Munich, has recently been interpreted as a work imbued with several layers of meaning. One of these layers refers to specific historical circumstances under which the painting came into being - especially to the fact it was ordered by Maximilian of Bavaria, the head of imperial troops at the Battle fought on the White Mountain near Prague on 8 November 1620. In this article, this topical significance of the painting, proposed by Konrad Renger in 1990, is further substantiated by connecting Rubens's depiction of the moon therein with a passage in Galileo Galilei's Sidereus Nuncius of 1610, where the round cavity around the middle of the moon was compared in its shape with Bohemia on the map of earth. In Rubens's picture, this shape can be seen under the right foot of the Apocalyptic Woman.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"85-91"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067098","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Retelling the Passion at Naumburg: The West-Screen and Its Audience","authors":"Michael Schwarz","doi":"10.2307/1483775","DOIUrl":"https://doi.org/10.2307/1483775","url":null,"abstract":"The essay is to show how, in the Middle Ages, a common narration, in this case the Passion of Christ, could be visually retold and, through this, adapted to specific cultic demands. Naumburg Cathedral's famous western screen with its passion cycle closes off a sort of chapel where, as far as one can deduce from the no less famous statues there, masses were said to the benefit of the founders of the cathedral for the purpose of assisting their sinful souls in purgatory. By placing emphasis in the passion-reliefs on the roles of Judas and St. Peter, the sculptor and his patrons, the Naumburg clergy, raised the question on which basis sin could be forgiven and made clear that among the most important qualifications for obtaining forgiveness was the virtue of hope, a virtue the founders had shown by doing good works and especially by benefiting Naumburg cathedral.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"59-72"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483775","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Early Viennese Porcelain of Claudius Innocentius du Paquier","authors":"Elisabeth Sturm-Bednarczyk","doi":"10.2307/20067102","DOIUrl":"https://doi.org/10.2307/20067102","url":null,"abstract":"The first two hard-paste porcelain manufactories in Europe were established in Meissen(1710) and in Vienna(1718). In its early phase Viennese porcelain was at least as important as Meissen, and in this early period Vienna also played the leading role in the area of painted decoration. The recipe for the paste was not stolen from Meissen as it is always assumed, in Vienna a different chemical compound was used. A private individual, Claudius Innocentius du Paquier, was the founder of the Viennese porcelain manufactory. In Meissen the ?owner? was the King of Poland, the Elector of Saxony, Augustus the Strong. He provided the necessary financial support for the Meissen manufactory, whereas in Vienna only a special privilege but no financial assistance was granted to Du Paquier's manufactory by Charles VI. Thus, as the production of porcelain is a very costly and risky venture, the Viennese manufactory was threatened by financial shortages throughout its existence, until in 1744 Du Paquier had to give up and his company was taken over by the state. Since Du Paquier's porcelain had no mark, and changing fashions made it no longer sought after, in the course of time Du Paquier's name and porcelain fell into complete oblivion. It was not until the beginning of the 20th century that once again the attention was drawn to Du Paquier's porcelain. Unfortunately, very little was published since then. My aim in this short essay is to stress what an important role this porcelain played in Europe in the early 18th century and to demonstrate with the aid of photographs how very fascinating it is.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"26 1","pages":"165-187"},"PeriodicalIF":0.0,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/20067102","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69061827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}