Iconology and Iconography: Describing, Classifying and Interpreting Religious and Artistic Objects
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THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
Egbert Haverkamp Begemann Rembrandt the Holy Family, St
REMBRANDT THE HOLY FAMILV, ST PETERSBURG PREVIOUSLY PUBLISHED H.W. Janson, Form follows function- o-r does it? Modernist design themy and the histmy of art (The First Gerson Lecture, held on October 2, 1981) D. Freedberg, Iconoclasts and thei-r motives (The Second Gerson Lecture, held on October 7, 1983) C. H. Smyth, Repat-riation of art from the collecting jJoint in Munich afte-r WoTld Wa-r ff (The Third Gerson Lecture, held on March 13, 1986) A. Martindale, Hemes, ancesto-rs, Telatives and the biTth of the jJoTtmit (The Fourth Gerson Lecture, held on May 26, 1988) L. N ochlin, Bathtime: Reno iT, Cezanne, DaumieT and the p-ractices of bathing in nineteenth-century Fmnce (The Sixth Gerson Lecture, held on November 2 1, 1991) M. Warnke, Laudando Pmecipere, der Medicizyklus des Peter Paul Rubens (Der siebente Gerson Vortrag, am rS. November 1993 gehalten) EDITOR'S NOTE The 5th Gerson Lecture was held in 1989. Its final text was made available to the Gerson Lectures Foundation in 1991 . At that moment, an unhappy coincidence of circumstances made publication without further delay impossible. We regret the fact that we had to disappoint the supporters of ow- Foundation for such a long period. Now at last, we are able to publish this lecture, thanks to the generous sponsoring 'in kind' ofWaanders Uitgevers. The Fifth Gerson Lecture held in memoryofHorstGerson (1907-1978) in the aula of the University ofGroningen on the 16th ofNovember 1989 Egbert Haverkamp Begemann Rembrandt The Holy Family, St Petersburg Groningen T he Gerson Lectures Foundation 1995 l REMBRANOT The Holy Family, 1645 4 REMBRANDT THE HOLY FAMILY, ST PETERSBURG Horst Gerson was a remarkable art historian and a remarkable man. -
The Iconography of the Honey Bee in Western Art
Dominican Scholar Master of Arts in Humanities | Master's Liberal Arts and Education | Graduate Theses Student Scholarship May 2019 The Iconography of the Honey Bee in Western Art Maura Wilson Dominican University of California https://doi.org/10.33015/dominican.edu/2019.HUM.06 Survey: Let us know how this paper benefits you. Recommended Citation Wilson, Maura, "The Iconography of the Honey Bee in Western Art" (2019). Master of Arts in Humanities | Master's Theses. 6. https://doi.org/10.33015/dominican.edu/2019.HUM.06 This Master's Thesis is brought to you for free and open access by the Liberal Arts and Education | Graduate Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Master of Arts in Humanities | Master's Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. This thesis, written under the direction of the candidate's thesis advisor and approved by the department chair, has been presented to and accepted by the Master of Arts in Humanities Program in partial fulfillment of the equirr ements for the degree of Master of Arts in Humanities. An electronic copy of of the original signature page is kept on file with the Archbishop Alemany Library. Maura Wilson Candidate Joan Baranow, PhD Program Chair Joan Baranow, PhD First Reader Sandra Chin, MA Second Reader This master's thesis is available at Dominican Scholar: https://scholar.dominican.edu/humanities- masters-theses/6 i The Iconography of the Honey Bee in Western Art By Maura Wilson This thesis, written under the direction of the candidate’s thesis advisor and approved by the program chair, has been presented to an accepted by the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts in Humanities Dominican University of California San Rafael, CA May 2019 ii iii Copyright © Maura Wilson 2019. -
An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in the Paintings of Amron Omar and Haron Mokhtar
International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 9, 2020, E-ISSN: 2222-6990 © 2020 HRMARS An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in The Paintings of Amron Omar and Haron Mokhtar Ahmad Hakim Abdullah, Yuhanis Ibrahim and Raja Iskandar Raja Halid To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i9/7835 DOI:10.6007/IJARBSS/v10-i9/7835 Received: 11 June 2020, Revised: 16 July 2020, Accepted: 18 August 2020 Published Online: 23 September 2020 In-Text Citation: (Abdullah, Ibrahim, and Halid, 2020) To Cite this Article: Abdullah, A. H., Ibrahim, Y., and Halid, R. I. R. (2020). An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in The Paintings of Amron Omar and Haron Mokhtar. International Journal of Academic Research in Business and Social Sciences. 10(9), 589-601. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 9, 2020, Pg. 589 - 601 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 589 International Journal of Academic Research in Business and Social Sciences Vol. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Icons and Western Art
Icons and Western art Eastern and Western religious art. Developments in Western painting 1. Symbolic / idealistic stage Eastern Orthodox icons and early Western painting (medieval) tries to express symbolically “what we know” about God and the world: ideas, teachings, etc. Such art expresses a general perspective of things: a symbolic point of view (“God’s eye”) of how things are (Ortega y Gasset). Eastern Orthodox art remained at the “symbolic” stage, and Eastern secular painting developed at a very late stage, if at all. In the West, such symbolic or general point of view was maintained until the Middle Ages (mid-13th c.). Examples are early Franciscan art, e.g., Bardi’s Dossal of Francis or the San Damiano crucifix. 2. Realistic / illusionistic stage Realistic or illusionistic art tries to represent “what we see” of things, rather than what we know about them. It seems to develop whenever art is used for entertainment (secular). However, in the West it takes over religious painting as well. This sort of art pays particular attention to various aspects of seeing or optical science: three-dimensional space, linear perspective, natural lighting, realistic portrayal of detail, etc. Realistic / illusionistic art represents the individual perspective or individual point of view: not what we know about things (general perspective) but what one sees of things (Ortega y Gasset). Western art of this type stresses material, rather than spiritual beauty, and contains many naturalistic details and sensual imagery. ART AND RELIGION, BY O. BYCHKOV 17 3. Experimental stages in Western painting In the 1800’s the tendency to paint “what we see,” or realism, begins to give way to the tendency to paint “how we see.” At first, Western painters tried to paint their “impressions” of reality (impressionism). -
Erwin Panofsky, Leo Steinberg, David Carrier
Erwin Panofsky, Leo Steinberg, David Carrier: The Problem of Objectivity in Art Historical Interpretation Author(s): David Carrier Reviewed work(s): Source: The Journal of Aesthetics and Art Criticism, Vol. 47, No. 4 (Autumn, 1989), pp. 333- 347 Published by: Blackwell Publishing on behalf of The American Society for Aesthetics Stable URL: http://www.jstor.org/stable/431133 . Accessed: 24/04/2012 07:48 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Blackwell Publishing and The American Society for Aesthetics are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Aesthetics and Art Criticism. http://www.jstor.org DAVID CARRIER ErwinPanofsky, Leo Steinberg,David Carrier:The Problemof Objectivityin Art HistoricalInterpretation My cheeky title was inspiredby an anonymous tive "as objectively as possible" and yet "when reader's complaint in a rejection letter: "and they ... compared ... their efforts ... their tran- what's worse, at one point Carrier even com- scripts differed to a surprisingextent." Under- pares himself to Panofsky." But why indeed standing"these limits to objectivity"may, Gom- shouldI not comparemyself to him, since doing brich suggests, help us understandnaturalistic that is not, absurdly,to imply that my work is images. -
Iconography of Jesus Christ in Nubian Painting 242 MAŁGORZATA MARTENS-CZARNECKA
INSTITUT DES CULTURES MÉDITERRANÉENNES ET ORIENTALES DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXV 2012 MAŁGORZATA MARTENS-CZARNECKA Iconography of Jesus Christ in Nubian Painting 242 MAŁGORZATA MARTENS-CZARNECKA In religious art the image of Christ was one of the key elements which inspired the faithful to prayer and contemplation. Pictured as the Incarnation of Logos, the Son of God, the Child born unto Mary, the fi gure of Christ embodied the most important dogma of Christianity.1 Depicted in art, Christ represents the hypostasis of the Word made man – the Logos in human form.2 Christ the Logos was made man (κατά τόν ανθρώπινον χαρακτήρα). God incarnate, man born of Mary, as dictated by canon 82 of the Synod In Trullo in Constan- tinople (AD 692), was to be depicted only in human form, replacing symbols (the lamb).3 From the moment of incarnation, the image of Christ became easily perceptible to the human eye, and hence readily defi ned in shape and colour.4 Artists painting representations of Christ drew inspiration from the many descriptions recorded in the apocrypha: ... and with him another, whose countenance resembled that of man. His countenance was full of grace, like that of one of the holy angels (1 Enoch 46:1). For humankind Christ was the most essential link between the seen and the unseen, between heaven and Earth;5 the link between God and the men sent by God (John 1:6; 3:17; 5:22-24), through whom God endows the world with all that is good. He is the mediator to whom the faithful, often through the intercession of the Virgin, make supplication and prayer – if you ask the Father anything in my name, he will give it to you (John 16:23; 14:11-14; 15:16). -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
Jesus Christ's Sufferings and Death in the Iconography of the East and the West
Скрижали, 4, 2012, с. 122-138 V.V.Akimov Jesus Christ's sufferings and death in the iconography of the East and the West The image of God sufferings, Jesus Christ crucifixion has received such wide spreading in the Christian world that is hardly possible to count up total of the similar monuments created throughout last one and a half thousand of years. The crucifixion has got a habitual symbol of Christianity and various types of the Crucifix became a distinctive feature of some Christian faiths. From time to time modern Christians, looking at the Cross with crucified Jesus Christ, don’t think of the tragedy of Christ’s death and the joy of His resurrection but whether the given Crucifix is «their own» or «another's». Meanwhile, the iconography of the Crucifix as far as the iconography of God’s Mother can testify to a generality of Christian tradition of the East and the West. There are much more general lines than differences between them. The evangelical narration of God sufferings and the history of Crucifix iconography formation, both of these, testify to the unity of east and western tradition of the image of the Crucifixion. Traditions of the East and the West had one source and were in constant interaction. Considering the Crucifix iconography of the East and the West in a context of the evangelical narration and in a historical context testifies to the unity of these traditions and leads not to dissociation, conflicts and mutual recriminations, but gives an impulse to search of the lost unity. -
Lesson Plans Samuel H
LESSON PLANS SAMUEL H. KRESS STUDY COLLECTION TABLE OF CONTENTS Lesson Plans, Grades K–12 3 What’s the Subject? Iconography 4 Studio Art Activity: Contemporary Icons 7 What’s the Subject? Mothers and Children 11 Studio Art Activity: Designing Women (and Their Children) 12 What’s the Subject? Images as Stories 15 Studio Art Activity Grades K–12: Getting the Whole Story 16 How’s That Made? Multi-Panel Altarpieces 19 Studio Art Activity Grades K–12: The Secret Lives of Renaissance Altarpieces 20 How’s That Made? Tempera and Oil Paint 24 Studio Art Activity: Paint Wars—Tempera vs. Oil 26 How’s That Made? Linear Perspective 30 Studio Art Activity: 2-D Art from a 3-D World 31 Worksheets35 LESSON PLANS, GRADES K–12 EXPERIENCE AND LEARNING WITH THE KRESS COLLECTION These lesson plans are a supplement to the Kress Teaching Packet. In the teaching packet, which is our primary instructional handbook, you will find images, information and looking guides for each of the 12 works of art in the Kress Collection at the Georgia Museum of Art, as well as an overview of Renaissance history. Educators are strongly encouraged to visit the museum with their students to experience our Kress Collection firsthand. The teaching packet and lesson plans offer a well-rounded understanding of Renaissance art; however, no reproduction can fully convey the beauty of an individual’s interaction with these works of art in the galleries. To organize a field trip, please contact the museum’s education department at 706.542.8863. WHAT’S THE SUBJECT? There are many interesting subjects to explore within Renaissance art. -
And Jesuit Iconography in the Sacred Heart Church of Thmpa, Florida
Munich Stained GI~ and Jesuit Iconography in the Sacred Heart Church of Thmpa, Florida Alice L.H. Co11'ea In the late 1880s, the Vatican commissioned !he He.art 10 her. The central window represents the fourth Munich-based stained glass workshop of Josef Mayer vision that occurred as she knelt before the Blessed Sacra (founded in 1848) to create a large window behind Bernini ·s ment exposed on the altar. At the request of Pere Claude la baroque ahar in the Basilica of St. Peter. This window was Columbicre, who was the superior of the Jesuit house which put in place in 1892 by the sons of Josef Mayer (Franz and wa$ associated with her convent, she later recorded the Josef) and so pleased Pope Leo XIII !hat he designated the words Christ spoke to her: "Behold this heart which has so Mayer Company as a '·Pontifical Insti!Ule of Christian loved men. that it has spared itself nothing. even to An. "1 This extraordinary action was taken in recognition of exhausting and consuming itself in order to prove' its love to me workshop's growing repu1a1ion for excellence in design them ... This vision was instrumental in establishing the and for the finn ·s extensive knowledge of ecclesiology feast day in the Church for the pub I ic honoring of His Heart. which manifested ilself in the sublle iconography of !he Christ in this window does not raise His right hand in company's windows.2 the usual geslllre of greeting. annunciation, or blessing. Eight years after this honor was bestowed on the Mayer Instead, his left hand is raised.