Artibus et Historiae最新文献

{"title":"The Photographic Picturesque","authors":"J. Ackerman","doi":"10.2307/1483732","DOIUrl":"https://doi.org/10.2307/1483732","url":null,"abstract":"In the early years of photography (1839-ca 1860), it was not evident that works of art should be the photographer's model: the process opened up the potential of a virtually unlimited range of imagery, but many practitioners chose fine art as a model because of its elevated status This paper examines the relation of the first photographers of landscape and architecture to the tradition of the Picturesque and aims to provide fresh grounds for assessing the reception of photography in the first years of its existence The Picturesque aesthetic, developed in Britain in the eighteenth century and exemplified in the work of the foremost painters, draftsmen and poets, sought to apply the principles of classical seventeenth-century landscape painting not only to pictures but also to the reception of actual landscapes and to the creation of landscape gardens. It was grounded in a patriotic ideology that equated the undeveloped landscape with the nation and was accompanied by a huge increase in touring and in a travel literature that supported and encouraged tourism. Illustrations in travel books propagated a widespread familiarity with Picturesque principles, which also were articulated by theorists and guidebook authors. Prior to the 1850s, (when technical advances prompted practitioners to move beyond the limits of traditional imagery), photographers, seeking to define what could be done with the medium, found inspiration in the subjects and compositions of earlier Picturesque imagery.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"73-94"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483732","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662557","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":"Venus as Semiramis: A New Interpretation of the Central Figure of Botticelli's \"Primavera\"","authors":"S. Michalski","doi":"10.2307/1483740","DOIUrl":"https://doi.org/10.2307/1483740","url":null,"abstract":"An archival discovery in 1975 and the subsequent studies of Michael Rohlmann (1996) have suggested- in my opinion convincingly - that Botticelli's Primavera was originally affixed to the wainscoting in the separate bedroom of Semiramide Appiani - the young wife of Lorenzo di Pierfrancesco Medici - in the old Medici Palace in the Via Larga.It is proposed here, drawing on various aspects of the mythological and iconographic tradition line connected with the patroness of Semiramide Appiani's exceedingly rare forename, the mythical queen Semiramis (creator of the famous hanging gardens of Babylon) that Botticelli and patrons intended a symbolic equivocation of the figure of Venus with the young bride portrayed in the middle of the splendid garden of \"Florentia\" as a new Semiramis. Since the figure of Mercury served as a disguised portrait of Lorenzo di Pierfrancesco the whole picture was conceived as a celebration of their wedding in July 1482 - a hypothesis supported also by the antithetical division of the composition in two parts, each of which conveys a different moral meaning.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"213-222"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483740","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662768","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":"Probleme im Medium der Anschauung: Giambattista Vicos 'Wahrer Homer' im Frontispiz der \"Scienza Nuova\"","authors":"Salvatore Pisani","doi":"10.2307/1483768","DOIUrl":"https://doi.org/10.2307/1483768","url":null,"abstract":"The central theme of the second edition of Scienza Nuova (1730) by G. B. Vico is discovery of the True Homer, that is, the discovery that Homer was in fact not a historical personality but only a myth. The frontispiece of Scienza Nuova shows Homer as a statue. The paper discusses - on the one hand - the medial aspects of the illustration, with regard to understanding the statue as a singular collective, and on the other hand - the unusual and incomprehensible iconography of the True Homer, where the author tries to define, to what extent it was an independent creation of Domenico Antonio Vaccaro, the artist who designed the frontispiece. Throughout the whole paper the central question, of how far and how well the philosophical thought of the book fits in a given artistic form is investigated, and what breaches result from this relationship of the idea and the form.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"219-230"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663777","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":"Michelangelo's Reflections on Bacchus","authors":"L. Freedman","doi":"10.2307/1483763","DOIUrl":"https://doi.org/10.2307/1483763","url":null,"abstract":"This essay offers a new reading of Michelangelo's Bacchus in the light of reconsidered documents, such as the artist's biographies, descriptions of the statue as seen in Rome, and drawings, as well as visual and literary sources, both classical and Renaissance, that might have been available to the sculptor. Meant to substitute an antique statue, Michelangelo's Bacchus provokes comparing images of the god of wine in ancient texts and works of art with the conceptions of this deity prevalent in the sculptor's ambiance. The inclusion of a panisc points to the dormant bestial forces that since early Christianity had been taught to be repressed in humans. The statue appears simultaneously ancient and modern, with its pagan figures addressing themselves to a Christian beholder.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"121-135"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483763","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663956","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 London \"Woman in Anguish\", Attributed to Cristoforo Solari: Erotic Pathos in a Renaissance Bust","authors":"Alison Luchs","doi":"10.2307/1483765","DOIUrl":"https://doi.org/10.2307/1483765","url":null,"abstract":"A remarkable alabaster bust of a semi-clad woman in the Victoria and Albert Museum, formerly attributed to Tullio Lombardo and more recently to Cristoforo Solari, has long been identified as A Virtue. Comparison with sculpture from the Lombardo circle and with early cinquecento northern Italian painting suggests it is instead a uniquely expressive treatment of a distraught antique heroine, possibly Lucretia. Arguments for the Solari attribution are discussed in light of recent research on this important Lombard sculptor, whose documented works on classical subjects are all lost.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"155-176"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483765","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664125","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":"Über das Lob in der Kunstgeschichte und sein Schicksal","authors":"Philipp P. Fehl","doi":"10.2307/1483727","DOIUrl":"https://doi.org/10.2307/1483727","url":null,"abstract":"Praise is the only possible expression of happiness, gratitude, of appreciation for service rendered to somebody, for a good example given, for showing human feelings. Praise means erecting of a monument - one of the most beautiful functions of art - which unfortunately does not get much recognition nowadays because it is thought that monuments - while praising the object of their glorification (as it is in their very nature), lie. But it is not true. They praise only that what they show, and if they lie or deceive, it is only then, when the object is not beautiful or praiseworthy but merely vain and pert, or simply inhuman. The history of praise, of the true praise of art, is as old as the Creation itself. \"God said, May it be light. And it was light, and God saw that it was good\". It took God six days to create the world; he examined it and praised it since it was good. And the angels, on seeing the work started to rejoice, to celebrate their praise of God who created the world so well. The present article is an attempt to examine the fate of praise in the history of art. The paper consists of two very different episodes, placed in chronological order. One of them is the period when praise in art and in the history of art constituted so to speak the heart of one's experience. This is a period of history of art based on literary examples, embracing the vast time-span since the Creation, through ancient Greece and Rome of Homers, Ovid and Virgil, Vasari's description of Michelangelo's Last Judgement, up to the nineteenth century. The other one is the period of the last hundred and twenty years in which the art history had been shaped as an academic discipline and which - because of this very fact - eagerly abstains from praise considered to be unprofessional. In this period reflection on art, its history and the social systems which are expressly praised or rebuked in the works of art, had become certainly much more complicated, even if not necessarily better. The two styles of studying art are not as easily distinguishable from one another as they seem to be when seen from a chronological perspective. A hundred and twenty years cannot so easily be reduced to a common denominator. The contradictions of praise and censure and the quite often self-praising abstention of value judgements, even the attitude of mind itself, which have existed and still exist simultaneously and often side by side in the same departments in strange, amazement arousing opposites, urge us to be cautious when we feel like speaking of the so-called pre-history of art history and the one surpassing it, real and in fact proper - writing of the history of art.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"17-28"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483727","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662204","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 Spirit of Pygmalion","authors":"Paul Barolsky","doi":"10.2307/1483737","DOIUrl":"https://doi.org/10.2307/1483737","url":null,"abstract":"By looking closely at a brief description of Pygmalion in Vasari's Lives and comparing it to Ovid's version of the myth, this essay suggests that Vasari's allusion is a subtle transformation of a classical poetic fable of artistic creation into a spiritual allegory grounded in Genesis.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"183-184"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662800","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":"\"Medicine\" by Gustav Klimt","authors":"Tina Marlowe-Storkovich","doi":"10.2307/1483769","DOIUrl":"https://doi.org/10.2307/1483769","url":null,"abstract":"In 1894 the Austrian Ministry of Culture and Education commissioned Gustav Klimt produce a group of paintings that would allegorize the Faculties of the University and the paintings were to be installed in the University's Graduation Hall. Thus Klimt produced The Faculty Pictures - Philosophy, Medicine, and Jurisprudence. One hundred years have passed since Klimt created his masterpieces, yet they have not received the attention they deserve - few critical analyses of the paintings have revealed their intellectual depth and formal sophistication. This essay, meant as a partial remedy, analyzes Medicine. Here we discuss Klimt's morphology, aesthetic paradigm, and juxtaposition of vernacular and classical traditions. Also, we demonstrate that photography had an impact on Klimt and hypothesize that Muybridge's serial photography may have provided him with a catalyst. In conclusion we propose that Medicine embodies the tradition of German Transcendental Idealism as expounded by Schopenhauer in his book which shaped nineteenth century aesthetics - The World as Will and Representation.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"231-252"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483769","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68663824","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":"Un \"Parnaso musicale\" per una casa di artista a Firenze","authors":"C. C. Via, I. Guidi","doi":"10.2307/1483764","DOIUrl":"https://doi.org/10.2307/1483764","url":null,"abstract":"An unrecorded fresco representing the Parnassus decorates the ceiling of a small room on the second floor of the house of Federico Zuccari in Florence. The decoration, executed between the end of the 16th and the beginning of the 17th century, is typical of the figurative tradition which flourished in Rome and Florence at that time. The decoration of ceilings in the Early Renaissance belonged to a minor genre of figurative production; however, mythological themes gave prestige to the genre, opening its repertoire to the inclusion of subject matter according to the ancient theory of decorum. The ceiling decoration is the second in a series of new discoveries in the house of Federico Zuccari. The decoration of the room as a whole can be attributed to Bernardino Pocetti and his workshop. The representation of the Parnassus, located at the centre of the ceiling, is flanked by four scenes representing the story of Perseus, according to the version by Ovid in Book IV of the Metamorphoses. Other figures, symbolizing the four elements, lead the viewer to read the frescoes as a vision of cosmic harmony. The authors argue that the decoration of the small room of Casa Zuccari was intended to represent just such a conception of music, though one more specifically practical than theoretical. A reference to theatrical interludes connects the figurative and musical representation, which includes various musical instruments and scores. This subject matter suggests a precise function for the saletta as a private space used not only for meditation, but also for the performance of concerts, according to the musical vocation of its owner, Giovan Battista Poggi.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"137-154"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483764","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68664097","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":"What Is Expressed in Michelangelo's \"Non-Finito\"","authors":"C. Gilbert","doi":"10.2307/1483730","DOIUrl":"https://doi.org/10.2307/1483730","url":null,"abstract":"Response to Michelangelo's unfinished works is unlike that to all other artists'. Early commentators, even while registering their unfinished status as problematic, found them perfect. Later they were called his finest works, without qualifications. How is this reconcilable with their not being what was planned by the artist, whose talent presumably let him articulate his statements? Here attention is drawn to several poems of Michelangelo's where unfinished sculpture is a motif. Thus, even if undesirable, this was approached by him as a conscious object of contemplation with meaning.","PeriodicalId":43492,"journal":{"name":"Artibus et Historiae","volume":"24 1","pages":"57-64"},"PeriodicalIF":0.0,"publicationDate":"2003-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2307/1483730","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68662231","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}