The Order of Ornament, the Structure of Style
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New Fragmenti's of the Parthenon Acroteria
NEW FRAGMENTI'SOF THE PARTHENON ACROTERIA (PLATE 56) WOULD like to call attention to two new fragments of the floral acroteria of the Parthenon found recently in the storerooms of the Athens Acropolis Museum.' They are both palmette petals and join break-on-break to Acropolis Museum inv. no. 3442, a fragment from the right crowning half-palmette of Acroterion A (P1. 56: a, b, with new fragments in place).2 The new fragments are from the outermost petals of the crowning palmette and represent parts of these petals not preserved in the fragment of the corresponding left half-palmette of A, Acropolis Museum inv. no. 3446.3 The position of the outer petals is now known for the greater part of their length and their tips can be restored with increased surety. The larger of the new fragments shows clearly that the petal of which it is a part lies in a double curve, the lower part of the petal bending away from, the upper part toward the median line. This double curve, a characteristic of the so-called flame palmette, has been assumed in reconstructions of the Parthenon acroteria on the basis of later parallels; it is attested by the new fragments for the first time. 1 I am grateful to Dr. George Dontas, Ephor of the Acropolis, for permission to publish these fragments, and to Mrs. Maria Brouskari for generously facilitating my work in the museum. I am grateful also to Eugene Vanderpool, Jr. for the accompanying photographs, and to William B. Dinsmoor, Jr. for the new reconstruction of the crowning palmette. -
빈 공방과 요제프 호프만이 주창한 총체예술(Gesamtkunstwerk) 디자인론의 생성배경과 특성에 관한 연구*
http://dx.doi.org/10.14774/JKIID.2016.25.1.115 Journal of the Korean Institute of Interior Design Vol.25 No.1 Serial No.114 _ 2016. 02 빈 공방과 요제프 호프만이 주창한 총체예술(Gesamtkunstwerk) 디자인론의 생성배경과 특성에 관한 연구* A Study on the generative background and Characteristics of Gesamtkunstwerk Design Theory advocated by Wiener Werkstätte and Josef Hoffmann Author 김홍기 Kim, Hong-Ki / 명예회장, 동양미래대학교 실내환경디자인학과 교수, 공학박사 Abstract In the turn of the twentieth century, Vienna emerged as a great cultural centre that stood at the forefront of developments in music, psychology, and the natural sciences. Equally influential, and still tremendously popular today, are the designs of the Wiener Werkstätte a group that was at the heart of the city’s cultural scene and whose collaborators included such luminaries as the architect Josef Hoffman and the designer Koloman Moser under the slogan of Gesamtkunstwerk. The term "Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, various design and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists. As a co-founder of the Wiener Werkstätte, Josef Hoffmann had a decisive influence on modern Viennese architecture and Interior design on the basis of the concept of Gesamtkunstwerk. In this view point, this study is to analyze about the generative background and design characteristics of gesamtkunstwerk advocated Wiener Werkstätte. Josef Hoffmann was by all accounts a very successful architect and Interior designer in Vienna. -
THE PASSAGE of LOTUS ORNAMENT from EGYPTIAN to THAI a Study of Origin, Metamorphosis, and Influence on Traditional Thai Decorative Ornament
The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000) Original papers Received November 13, 2013; Accepted April 8, 2014 Original paper THE PASSAGE OF LOTUS ORNAMENT FROM EGYPTIAN TO THAI A study of origin, metamorphosis, and influence on traditional Thai decorative ornament Suppata WANVIRATIKUL Kyoto Institute of Technology, 1 Hashigami-cho, Matsugasaki, Sakyo-ku, Kyoto 606-8585, Japan Abstract: Lotus is believed to be the origin of Thai ornament. The first documented drawing of Thai ornament came with Buddhist missionary from India in 800 AD. Ancient Indian ornament received some of its influence from Greek since 200 BC. Ancient Greek ornament received its influence from Egypt, which is the first civilization to create lotus ornament. Hence, it is valid to assume that Thai ornament should have origin or some of its influence from Egypt. In order to prove this assumption, this research will divine into many parts. This paper is the first part and serves as a foundation part for the entire research, showing the passage, metamorphosis and connotation of Thai ornament from the lotus ornament in Egypt. Before arriving in Thailand, Egyptian lotus had travelled around the world by mean of trade, war, religious, colonization, and politic. Its concept, arrangement and application are largely intact, however, its shape largely altered due to different culture and belief of the land that the ornament has travelled through. Keywords: Lotus; Ornament; Metamorphosis; Influence; Thailand 1. Introduction changing of culture and art. Traditional decorative Through the long history of mankind, the traditional ornament has also changed, nowadays it can be assumed decorative ornament has originally been the symbol of that the derivation has been neglected, the correct meaning identifying and representing the nation. -
Village of Pittsford Settled 1789 • Incorporated 1827
VILLAGE OF PITTSFORD SETTLED 1789 • INCORPORATED 1827 Members: Maria Huot Scott Latshaw Liaison: Robert Corby William McBride Attorney: Jeff Turner Lisa Cove Building Inspector: Kelly Cline Ken Morrow Recording Sec: Linda Habeeb Alternate: Ron Johnson Architectural and Preservation Review Board Regular Meeting Monday May 7, 2018 at 7:00 pm This agenda is subject to change both in number of applications, order of applications, and/or at the discretion of the Chairperson. Conflict of interest disclosure . Ken Samarra, 6 South Main Street ~ Sign . Jason Crane, 7 Stonegate Lane ~ Overhang . Jason Crane, 27 Lincoln Ave ~ Siding . Tom Dakin, 38 Rand Place ~ Lights . Robert Huot, 21 Church Street ~ Windows . Del Monte Hotel Group, 41 N. Main Street ~ Porte Cochere Member Items: Minutes: 4/2/18 Village of Pittsford documents are controlled, maintained, and available for official use on the Village of Pittsford Website, located at http://www.VillageofPittsford.org. Printed versions of this document are considered uncontrolled. Copyright © (2010) Village of Pittsford. TRANSMITTAL TRANSMITTED TO: Village of Pittsford 21 North Main Street Pittsford, New York 14534 ATTENTION: Ms. Kelly Cline VIA: Delivery DATE: April 18, 2018 RE: Architectural & Preservation Review Board Application for Exterior Renovations to the Del Monte Lodge Kelly, Attached please find the Architectural & Preservation Review Board Application and Supporting Documents for the Proposed Exterior Renovations at the Del Monte Lodge (41 North Main Street). Respectfully, Andrew Van -
Wood Curriculum Vitae May 2016
Christopher Stewart WOOD Professor and Chair, Department of German, New York University (Affiliated Faculty, Department of Comparative Literature) 19 University Place New York, NY 10003 email: [email protected] tel 212-998-8650 CURRICULUM VITAE (May 2016) Academic degrees and study 1979-1983 Harvard College A.B. magna cum laude in History and Literature 1983-1985 Ludwig-Maximilians-Universität, Munich three semesters in degree program in art history 1984-1991 Harvard University Ph.D. in Fine Arts Dissertation: "The Independent Landscapes of Albrecht Altdorfer," advised by Konrad Oberhuber and Henri Zerner 2000 Yale University Honorary Master of Arts Privatim (MAH) Employment 1992-2014 Yale University Assistant, (from 1996) Associate, (from 2000) Full Professor, and (from 2013) Carnegie Professor, History of Art 2014-present New York University Professor, Department of German Visiting professorships fall 1997 University of California, Berkeley Visiting Associate Professor spring 2001 Vassar College Belle Ribicoff Distinguished Visiting Scholar spring 2007 Hebrew University, Jerusalem, Visiting Professor fall 2013 New York University, Department of German, Visiting Professor AWARDS AND FELLOWSHIPS: 2 1980 Jacob Wendell Scholarship, Harvard University 1983-1984 Deutscher Akademischer Austauschsdienst (DAAD) fellowship, Munich 1987-1988 Sheldon Fellowship, Harvard University, for study and travel abroad (Vienna, Paris) 1989-1992 Junior Fellow, Society of Fellows, Harvard University summer 1994 Guest scholar, Institut für Europäische -
Arabesken – Das Ornamentale Des Balletts Im Frühen 19
2017-10-18 10-58-48 --- Projekt: transcript.anzeigen / Dokument: FAX ID 026f474678049510|(S. 1- 2) VOR2935.p 474678049518 Aus: Eike Wittrock Arabesken – Das Ornamentale des Balletts im frühen 19. Jahrhundert November 2017, 358 Seiten, kart., zahlr. Abb., 39,99 €, ISBN 978-3-8376-2935-4 Die Arabeske ist nicht nur eine der wichtigsten Positionen des klassischen Ballettvo- kabulars, mit ihr lässt sich auch das Ornamentale des Balletts im frühen 19. Jahrhun- dert beschreiben. Aus bisher größtenteils unveröffentlichten ikonografischen Quellen entwickelt Eike Wittrock eine Ästhetik des Balletts, die sowohl die Einzelfigur Arabes- ke wie auch die Gruppenformationen des corps de ballet erfasst. Lithografien, choreo- grafische Notationen, Abbildungen in Traktaten, Musterbücher und Buchverzierun- gen werden dabei als historiografische Medien von Tanz verstanden, die die fantasti- sche Bildlichkeit dieser Ballette in der Aufzeichnung weiterführen. Eike Wittrock ist Tanzwissenschaftler an der Freien Universität Berlin und forscht dort zur Tanzgeschichte. Außerdem arbeitet er als Dramaturg und Kurator im Bereich des zeitgenössischen Tanzes. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-2935-4 © 2017 transcript Verlag, Bielefeld 2017-10-18 10-58-48 --- Projekt: transcript.anzeigen / Dokument: FAX ID 026f474678049510|(S. 1- 2) VOR2935.p 474678049518 Inhalt 1. Einleitung | 7 Le Délire d’un peintre: Figur und Fantasie | 11 Zur Methode | 20 Der Begriff Arabeske | 36 Tanzhistorischer Forschungsstand | 53 2. Danseuses d’Herculanum | 65 3. Genealogie der Arabeske | 97 Drei frühe Auftritte der Arabeske | 104 Carlo Blasis’ Theorie der Arabeske | 108 Eingebildete Linien | 131 Of the figure that moves against the wind | 146 Finale Arabeske/Unzählige Variationen | 149 Im Cirque Olympique | 159 Arabesken in Giselle | 168 4. -
Viennese Art, Ugliness, and the Vienna School of Art History: the Vicissitudes of Theory and Practice
Viennese art, ugliness, and the Vienna school of art history: the vicissitudes of theory and practice Kathryn Simpson Around 1900 in Vienna, the concept of ugliness developed a new significance in both art theory and practice. The theorists of the Vienna school of art history, including Franz Wickhoff, Alois Riegl, and later Otto Benesch and Max Dvoř{k, rejected the scholarly tradition of Germanic contemporaries like renowned art historian Heinrich Wölfflin, who championed classical art as the highest aesthetic good. By contrast the Vienna school art historians opposed absolute aesthetics and its insistence that a specifically classical beauty was the goal of all art.1 At the dawn of the twentieth century, Wickhoff and Riegl both presented radically new theories arguing for a revaluation of aesthetic values, a non-hierarchical relationship between so-called beauty and ugliness, and the importance of developing an art that was appropriate for the age. Ugliness was suddenly spotlighted in Viennese artistic practice as well. Gustav Klimt was the undisputed king of the Viennese art scene; he had inherited the throne from the revered history painter, designer, and decorator Hans Makart, whose sensual, decorative sensibility had defined late-nineteenth-century tastes in Vienna, giving rise to the term Makartstil, or ‘Makart style.’ After three years as the leader of the Vienna Secession movement, Klimt produced a series of works of art which enraged sectors of the intellectual establishment and the general public, who reacted in particular to the purported ugliness of Klimt’s latest visions. Yet shortly thereafter young Viennese artists eager to lead what they called the ‘new art’ movement began to develop deliberate strategies of ugliness to help create and buttress their own antagonistic artistic personae. -
Beyond Kunstwollen (Beijing, 8 Apr 2017)
Beyond Kunstwollen (Beijing, 8 Apr 2017) Beijing, Apr 8, 2017 Wenyi Qian Beijing, OCAT Institute & The University of Chicago Center in Beijing, 8 April 2017 Jas' Elsner Seminar One Beyond Kunstwollen Co-organized by OCAT Institute & The University of Chicago Center in Beijing Jas' Elsner Seminar Series Jas' Elsner Seminar Series, a three-part seminar series curated and organized by OCAT Institute, forms an integral part of OCAT Institute’s 2017 Annual Programs and anticipates the 2017 OCAT Annual Lectures to be delivered by Jas' Elsner in Beijing in September 2017. The Seminar Series is offered in the form of three historiographic workshops. These three workshops contemplate what the French theorist and historian Michel de Certeau calls “historiographical operation” within art history, by looking at three critical aspects of its practice—a disciplinary moment (the Vienna School), a rhetorical practice (description, or ekphrasis), and a critical modality (comparativism). As such, these three aspects or cross-sections in art historiography correspond to three inter- linked stages of thought process in Jas' Elsner’s vision of art history as a discipline—from past, present, to future—which the participants are encouraged to follow through as a logical sequence. The first seminar, whose firm focus is on the discipline’s past, aims at an exercise in rigorous his- toricization wherein methodological debates are localized into episodes of early literature in the discipline and illuminated against wider cultural, political, and ideological backgrounds. Histori- cization has as one of its purposes the liberation from, and the caution against, facile or whole- sale acceptance of any single set of methods. -
Ornament and European Modernism: from Art Practice to Art History
Ornament and European Modernism: from art practice to art history Review of: Ornament and European Modernism. From Art Practice to Art History, by Loretta Vandi (ed.), New York and London: Routledge, 2018, 198 pp., 38 colour & b/w illus. £110,00, ISBN: 978-1-138-74340-3 Ariane Varela Braga After a rejection that lasted almost one century, ornament has made a comeback that is no longer possible to ignore. This renewed interest in ornamental and richer decorative forms has spread from architecture to design, fashion and the visual arts in general. Ornament seems to have finally regained its place among the arts and has become once again a matter of reflection and experimentation, involving various materials and media. Adolf Loos’ aggressive condemnation in Ornament und Verbrechen (1910) appears now a long way off. This renewed interest has not left untouched the field of art and architectural history. Since the 1990s, and even more so since the beginning of this new century, studies have multiplied all over the world, involving an ever broader temporal and cultural panorama. This has led to numerous publications on the use, function and history of ornament, as well as the promotion of new editions of historical treatises, drawings and pattern books, in both printed and digital versions.1 These studies, which seem to increase every year,2 have not been limited to the Western arts, but 1 A recent example in this sense is Sabina de Cavi, ed, Giacomo Amato. I disegni di Palazzo Abatellis. Architettura, arredi e decorazione nella Sicilia Barocca, Roma: De Luca Editori d’Arte, 2017. -
Global Austria Austria’S Place in Europe and the World
Global Austria Austria’s Place in Europe and the World Günter Bischof, Fritz Plasser (Eds.) Anton Pelinka, Alexander Smith, Guest Editors CONTEMPORARY AUSTRIAN STUDIES | Volume 20 innsbruck university press Copyright ©2011 by University of New Orleans Press, New Orleans, Louisiana, USA. All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, ED 210, 2000 Lakeshore Drive, New Orleans, LA, 70119, USA. www.unopress.org. Book design: Lindsay Maples Cover cartoon by Ironimus (1992) provided by the archives of Die Presse in Vienna and permission to publish granted by Gustav Peichl. Published in North America by Published in Europe by University of New Orleans Press Innsbruck University Press ISBN 978-1-60801-062-2 ISBN 978-3-9028112-0-2 Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Fritz Plasser, Universität Innsbruck Production Editor Copy Editor Bill Lavender Lindsay Maples University of New Orleans University of New Orleans Executive Editors Klaus Frantz, Universität Innsbruck Susan Krantz, University of New Orleans Advisory Board Siegfried Beer Helmut Konrad Universität Graz Universität -
The Pseudo-Kufic Ornament and the Problem of Cross-Cultural Relationships Between Byzantium and Islam
The pseudo-kufic ornament and the problem of cross-cultural relationships between Byzantium and Islam Silvia Pedone – Valentina Cantone The aim of the paper is to analyze pseudo-kufic ornament Dealing with a much debated topic, not only in recent in Byzantine art and the reception of the topic in Byzantine times, as that concerning the role and diffusion of orna- Studies. The pseudo-kufic ornamental motifs seem to ment within Byzantine art, one has often the impression occupy a middle position between the purely formal that virtually nothing new is possible to add so that you abstractness and freedom of arabesque and the purely have to repeat positions, if only involuntarily, by now well symbolic form of a semantic and referential mean, borrowed established. This notwithstanding, such a topic incessantly from an alien language, moreover. This double nature (that gives rise to questions and problems fueling the discussion is also a double negation) makes of pseudo-kufic decoration of historical and theoretical issues: a debate that has been a very interesting liminal object, an object of “transition”, going on for longer than two centuries. This situation is as it were, at the crossroad of different domains. Starting certainly due to a combination of reasons, but ones hav- from an assessment of the theoretical questions raised by ing a close connection with the history of the art-historical the aesthetic peculiarities of this kind of ornament, we discipline itself. In the present paper our aim is to focus on consider, from this specific point of view, the problem of a very specific kind of ornament, the so-called pseudo-kufic the cross-cultural impact of Islamic and islamicizing formal inscriptions that rise interesting pivotal questions – hither- repertory on Byzantine ornament, focusing in particular on to not so much explored – about the “interference” between a hitherto unpublished illuminated manuscript dated to the a formalistic approach and a functionalistic stance, with its 10th century and held by the Marciana Library in Venice. -
Air Curtains As Alternatives to Vestibules
Air Curtains as Alternatives to Vestibules his article describes the function and benefits of air curtains. It presents results from a recent study on the energy performance of air curtains relative to vesti- T bules and provides useful information for engineers and code officials. HOW AIR CURTAINS WORK An air curtain installed on the interior of a building creates a coherent sheet of air composed of the air curtain discharge and the surrounding entrained air. This sheet of air stabilizes when it meets a return grill or splits at a surface, such as a floor or another opposing air stream. When this stability combines with the building’s interior pressure, it resists and reduces thermal exchange over an opening in the building envelope. The air curtain is not intended to replace a physical door, but may be used as a low-cost, low-maintenance alternative to a vestibule, when appropriate. This would save valuable floor space and create an invisible, energy-saving barrier that reduces infiltra- tion when the door is open. The most common types of controls are switches triggered by the door, or motion sensors that are triggered by people approaching the door. BENEFITS OF AIR CURTAINS Approved as an alternative to vestibules in the 2015 International Energy Conser- vation Code (IECC) and the 2015 International Green Construction Code ® (IgCC), air curtains make egress in an emergency exit situation safer and faster by providing clear, By David A. Johnson, Berner International Corp.; Frank R. Cuaderno, Mars Air Systems, LLC; and Brian Jones, Powered Aire Inc. JUNE 2015 | 34 Air Curtains as Alternatives to Vestibules continued uninhibited flow to the traffic passing through it, while still saving energy during heating and cooling seasons.