Studies in the decorative arts最新文献

{"title":"Pattern of frustration formation in the functional brain network.","authors":"Majid Saberi, Reza Khosrowabadi, Ali Khatibi, Bratislav Misic, Gholamreza Jafari","doi":"10.1162/netn_a_00268","DOIUrl":"10.1162/netn_a_00268","url":null,"abstract":"<p><p>The brain is a frustrated system that contains conflictual link arrangements named frustration. The frustration as a source of disorder prevents the system from settling into low-energy states and provides flexibility for brain network organization. In this research, we tried to identify the pattern of frustration formation in the brain at the levels of region, connection, canonical network, and hemisphere. We found that frustration formation has no uniform pattern. Some subcortical elements have an active role in frustration formation, despite low contributions from many cortical elements. Frustrating connections are mostly between-network connections, and triadic frustrations are mainly formed between three regions from three distinct canonical networks. We did not find any significant differences between brain hemispheres or any robust differences between the frustration formation patterns of various life-span stages. Our results may be interesting for those who study the organization of brain links and promising for those who want to manipulate brain networks.</p>","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"7 1","pages":"1334-1356"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11117102/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82831680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"[Decision making algorithm in distal thoracic aortic dissections].","authors":"S A Abugov, R S Polyakov, M V Pyreckiy, Yu M Saakyan","doi":"10.17116/hirurgia2016104-10","DOIUrl":"10.17116/hirurgia2016104-10","url":null,"abstract":"","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"13 1","pages":"4-10"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82821184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Progressive Design for a Progressive Journal: Verner Panton's Interiors for the Spiegel Building in Hamburg","authors":"M. Ott","doi":"10.1086/652665","DOIUrl":"https://doi.org/10.1086/652665","url":null,"abstract":"In the 1960s, the weekly journal Der Spiegel was one of the most influential and progressive political periodicals in Germany. Under the leadership of Rudolf Augstein, the publisher, Der Spiegel was able to dominate weekly journalism with its exposés, which led to the downfall of many a political career. In 1967 the philosopher Karl Jaspers wrote: “If we imagine an existence without the Spiegel, the truth in Germany would be far poorer and far less powerful.”1 The Spiegel publishing company was and is still located in the Hanseatic city of Hamburg. In the mid-1960s, the publisher decided to amalgamate its offices, which had been distributed across the city, in one central structure. To this end, a multistory building—then under construction—was rented in the south of Hamburg’s old town. The wellknown architectural firm of Kallmorgen & Partner had designed the building in 1963 (Fig. 1).2 The ground plan consists of two equal-sized, interlocking rectangles, which are positioned together. Thus, a fixed core is produced, in which the four elevators and the two stairwells are situated. A two-story pavilion is located on the north side of the main building. The two buildings are connected via a corridor at ground level. The pavilion is composed of four rectangular segments set back progressively from one another. As a result of the position of the pavilion in front of the main building, a small internal courtyard, sheltered from the road, is created in which the entrance is located. The Spiegel building is constructed on a reinforced concrete frame. Peculiar to the design, this structure is visible on the exterior: the weight-bearing frame and the recessed glass façade are noticeably independent of each other. The architect, Werner Kallmorgen’s colleague Helmut Dierks, selected a construction grid with dimensions alternating between 85 and 170 cm (331⁄2 and 67 in.) between the axes. These dimensions were advantageous in that they allowed a flexible division of interior space; when construction began, the future tenants had not yet presented themselves. Because of the external structure, narrow, gallery-","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"96 - 122"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652665","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Thomas P. Campbell, ed.,Tapestry in the Baroque: Threads of Splendor, exh. cat. New Haven and London: Yale University Press for The Metropolitan Museum of Art, 2007. 563 pp., 175 color pls., 169 b/w ills., bibliog., index. $75.","authors":"Hanns Hubach","doi":"10.1086/652668","DOIUrl":"https://doi.org/10.1086/652668","url":null,"abstract":"","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"198-201"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652668","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"La Mode à la girafe: Fashion, Culture, and Politics in Bourbon Restoration France","authors":"Michele Majer","doi":"10.1086/652666","DOIUrl":"https://doi.org/10.1086/652666","url":null,"abstract":"On October 31, 1826, the first living giraffe ever seen in France disembarked in Marseilles (Fig. 1).1 A politically motivated gift from Muhammad Ali (1769-1849), the viceroy of Egypt, to King Charles X (r. 1824-1830), she was only the second specimen of Giraffa camelopardalis to have set foot in Europe after a period of some 350 years.2 La girafe immediately became a commercial and cultural phenomenon, with la mode à la girafe reaching its height in the summer of 1827 when she arrived in Paris. She was besieged by crowds of curious onlookers, had an audience with the king, members of the royal family, and various dignitaries and savants at the palace of Saint-Cloud, and was the subject of a lecture and pamphlet by Étienne Geoffroy Saint-Hilaire (1772-1844), the renowned professor of zoology and administrator of the menagerie at the Jardin des Plantes.3 A number of factors—social, economic, cultural, and political— contributed to the unprecedented vogue à la girafe that occurred in Bourbon Restoration France. The increasing embourgeoisement of French society during the Restoration and a concomitant burgeoning consumerism were key elements in the overwhelming commercial response to the giraffe. Additionally, by the 1820s, the flourishing of the press, including the fashion press, and print culture as a whole created a climate conducive to the widespread dissemination of information and imagery regarding this remarkable animal. Her representation appeared in thousands of prints—lithographs, engravings, and woodcuts—and she was used to sell fashion, textiles, wallpaper, ceramics, toys, and even gastronomical refreshments. She inspired a play, sheet music, and a host of pamphlets (often satirical ones). Further, the giraffe’s arrival in France coincided with a period of growing conservatism in domestic politics and tension between France and Egypt. Many of the satirical publications used the giraffe to criticize France’s foreign policy vis-à-vis the Greek battle for independence and the pasha’s involvement in its suppression, as well as the French government’s increasing censorship of the press. The presence of this startlingly unusual quadruped in Restoration France thus had multilayered meanings. The vividly metaphoric lan-","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"123 - 161"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652666","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Caroline Weber,Queen of Fashion: What Marie Antoinette Wore to the Revolution. New York: Henry Holt, 2006. 413 pp., 21 color pls., 21 b/w ills., bibliog., index. $27.50.","authors":"Michele Majer","doi":"10.1086/652675","DOIUrl":"https://doi.org/10.1086/652675","url":null,"abstract":"","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"220-224"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652675","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Architecture and Performance at the Hôtel du Maine in Eighteenth-Century Paris","authors":"Nina Lewallen","doi":"10.1086/652662","DOIUrl":"https://doi.org/10.1086/652662","url":null,"abstract":"In the years around 1720, Louise-Bénédicte de Bourbon-Condé, duchesse du Maine (1676-1753), was actively involved in the remodeling and interior decoration of her new town house, the Hôtel du Maine, in the heart of the faubourg Saint-Germain, in Paris (Fig. 1). Designed by Robert de Cotte and Armand-Claude Mollet, the Hôtel du Maine, 1716-1725, was situated between the rue de Bourbon (the present-day rue de Lille) and the Seine, and it was the largest of the duchesse du Maine’s architectural and decorative projects (Figs. 2-3).1 She had previously commissioned Germain Boffrand to design a small pleasure pavilion along the Seine near the Arsenal Palace and had sponsored a new decorative scheme for the gallery of her château at Sceaux.2 It was the Paris residence, however, that embodied the duchesse du Maine’s social and political aspirations. Although the Hôtel du Maine was demolished in the nineteenth century, it is well documented by architectural renderings, contemporary descriptions, notarized contracts, probate inventories, and extant objects. The published memoirs of the duchesse du Maine’s chambermaid, Rose Delaunay, capture many intimate details that illuminate the duchess’s character and suggest motives for her architectural patronage.3 The most important source on the house is the exhaustive “Journal de la Maison du Maine” written by the family steward, Pierre-Jacques Brillon.4 The twenty-nine volumes of this manuscript journal, spanning the years 1717 until Brillon’s death in 1736, constitute an extraordinary record of the daily life of a noble family and of their extensive household in the France of the ancien régime. While a clear narrative is elusive, details about the Hôtel du Maine and its role in the family fortunes can be pieced together from Brillon’s daily journal entries and from the copies of his letters that are bound with each volume. Brillon documents his own actions as the household administrator, and he relays, often in meticulous detail, the conversations he had as the intermediary between the duchesse du Maine and her architects and as the arbitrator among the household officers, the architects, and the workmen employed on the building.5 Brillon leaves no doubt that the duchesse du Maine was the patron of the project, not her husband, even though all contracts concerning the","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"2 - 32"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652662","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61193949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Donald Albrecht, ed.,Paris-New York: Design Fashion Culture 1925-1940. New York: Monacelli Press for the Museum of the City of New York, 2008. 240 pp., 100 color pls., 250 b/w ills., index. $50.","authors":"A. Steinhardt","doi":"10.1086/652674","DOIUrl":"https://doi.org/10.1086/652674","url":null,"abstract":"","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"218-220"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652674","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ariane James-Sarazin and Régis Lapasin,Gazette des atours de Marie-Antoinette: Garde-robe des atours de la reine: Gazette pour l'année 1782. Paris: Réunion des Musées Nationaux for the Archives Nationales, 2006. 89 pp., 85 color pls., gloss., bibliog. € 30.","authors":"Michele Majer","doi":"10.1086/652676","DOIUrl":"https://doi.org/10.1086/652676","url":null,"abstract":"","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"225-226"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652676","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61195645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A London Writing Cabinet for Cosimo III: A Late Seventeenth-Century Furniture Type and the Anglo-Italian Art Trade","authors":"Michael Bohr","doi":"10.1086/652663","DOIUrl":"https://doi.org/10.1086/652663","url":null,"abstract":"Like many noblemen of his time, Grand Duke Cosimo de’ Medici (1642-1723) undertook an extended Grand Tour. It lasted over a year, from September 1668 to October 1669. Cosimo, an anglophile like his Medici predecessors, chose England as his principal destination and also briefly visited Spain, France, and the Netherlands. Sojourns at the comfortable country estates of King Charles II and other members of the English high nobility must have been exceedingly pleasant and entertaining; in his diary Cosimo described many of these visits in great detail. The hospitality of the third earl of Devonshire left a lasting impression on the Grand Duke. When the earl’s daughter, Anne Cavendish, and her husband, John Cecil, fifth Earl of Exeter, made a reciprocal visit to Florence in 1681, Cosimo gave them a magnificent cabinet as an expression of his gratitude (Fig. 1). The cabinet, which is still at Burghley House today, was made at the workshop of a Florentine cabinetmaker, where the master craftsman responsible was probably the Flemish émigré Leonardo van der Vinne (a cabinetmaker and intarsia artist who worked in the Medici manufactory from 1659 until his death in 1713). Valuable pietre dure in marble and precious and semiprecious stones decorate the intercolumnar spaces on the cabinet–well-nigh a trademark of Florentine workshops from the early seventeenth until well into the eighteenth century. Seen here and frequently adorning such cabinets, the intarsia images represent naturally interpreted flowers, birds, and branches with fruit. With these works, characteristic of cabinets by Medici court artists, the Grand Duke’s Galleria dei Lavori enjoyed international fame. Cosimo had the cabinet for his English friends filled with healing tonics and perfumes, the most important ingredients of which were flowers and amber. The cabinet in Burghley House is typical of Florentine cabinets of the seicento, which were normally veneered with ebony; their façades usually included ornamental columns. The interiors, with their doors and drawers, were readily accessible (not closed behind fall-front writing flaps or two large doors). Unlike the façades of most other preserved Tuscan","PeriodicalId":89275,"journal":{"name":"Studies in the decorative arts","volume":"17 1","pages":"33 - 67"},"PeriodicalIF":0.0,"publicationDate":"2009-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/652663","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61194044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}