DOCSLIB.ORG

Vol. Xii. 2014. Full Text

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vol. Xii. 2014. Full Text SERIES BYZANTINA Virgin Mary; glassware decoration, from catacombs in Rome, 4th c. AD; N. P. Kondakov, Ikonografi a Bogomateri, St. Petersburg 1914, p. 77 SERIES BYZANTINA Studies on Byzantine and Post -Byzantine Art VOLUME XII POLISH INSTITUTE OF WORLD ART STUDIES CARDINAL STEFAN WYSZYŃSKI UNIVERSITY Warsaw 2014 EDITOR: Waldemar Deluga EDITORIAL BOARD: Anca Bratuleanu, Bucharest Viktoria Bulgakova, Berlin Ana Dumitran, Alba Iulia Mat Immerzeel, Amsterdam Michał Janocha (chairman), Warsaw Catherine Jolivet-Levy, Paris Alina Kondratjuk, Kiev Magdalena Łaptaś, Warsaw Jerzy Malinowski, Warsaw Márta Nagy, Debrecen Daniela Rywikova, Ostrava Athanassios Semoglou, Thessaloniki Tania Tribe, London Natasha Tryfanava, Minsk ADMINISTRATOR: Dominika Macios WEBMASTER: Rafał Zapłata EDITORIAL ADDRESS: Institut of History of Art Cardinal Stefan Wyszyński University ul. Wóycickiego 1/3 PL 01-938 Warszawa [email protected] Revised by Nicholas Barber, Anette and Denis Morin Cover design, typhographic project, illustrations editing and typesetting by Paweł Wróblewski Continuation of the series published by the NERITON Publishing House The issue subsidized by the Ministry of Science and Higher Education (Program „Index Plus”) © Copyright by Waldemar Deluga ISSN 1733–5787 Printed by Sowa - Druk na Życzenie www.sowadruk.pl tel. (48 22) 431 81 40 Edition of 400 copies Contents Introduction (Waldemar Deluga).................................................................................................7 Agnieszka Gronek, Eschatological elements in the schemes of paintings of high iconostases..........................................................................11 Natalia Kolpakova, Saint George: Artistic and stylistic peculiarities of Galician Icons in the 14th–16th Centuries............................................................23 Rémi Terryn, L’ église de Treskavac et ses peintures murales et liens avec l « école » de Kastoria à la fi n du XVème siècle.....................................................35 Ika Matyjaszkiewicz, Human – Absolute – Painting. Golden Apses in Byzantine Art and in Venetian Painting of Renaissance.........................................................55 Waldemar Deluga, Between Candia and Venice. The role of European engravings in the iconographic transformations of post-Byzantine painting in Greece..........................................................................................75 Introduction Volume XII of Series Byzantina presents papers that emerged from continued dialogue amongst researchers from different countries. Considerable space has been devoted to ar- tistic relations between the Byzantine and Latin worlds, which is a continuation of discus- sions contained in the previous issues. Opened in 2014 has been a new gallery of Nubian art from the Faras Cathedral, show- ing the relics of Christian art in a new arrangement adapted to the modern exhibition solutions, and fi rst of all – meeting the standards of appropriate heritage protection. The exhibition is a success of Polish archaeologists and historians of art and new excavation sites related to Eastern Christianity in Africa have been discovered. This way, there is con- tinuity in the works that have been performed for over a hundred years by many archaeo- logical missions. Therefore we would like to present such issues in our periodical. In 2014, the Cardinal Stefan Wyszyński University, in cooperation with scholars from other Polish research centres, organised a conference on the migration of relics during the fi rst millennium. One year earlier, on the initiative of Magdalena Łaptaś, a discussion panel was held at the International Centre for Cross-cultural and Cross-religious dialogue. It was then that the basic assumptions of the future conference had been prepared: it was a national event that grouped researchers into epochs before the division into the Latin and Byzantine worlds. The Centre, headed by Rev. Henryk Skorowski, is now expanding its activities to include suggestions offered by historians of art. The interest in Byzantine and post-Byzantine art is growing in Eastern Europe, and new initiatives keep springing up. Worthy of attention among them are the artistic activi- ties of modern artists who create new works inspired by the old art. Workshops in icon painting are organized. In Poland, a School of Iconography operates in Biała Podlaska. Further, painting workshops are held in Nowica and Garbatka in southern Poland, where the Eastern Church traditionally mingles with the Latin one, and historic wooden Latin and Orthodox churches coexist. Tangible survivors of the ravages of war and communist persecutions, they attract both the faithful and tourists visiting the region. Icon painters representing such communities symbolise the traditional trend of Orthodox Church paint- ing related to the icon canon. 8 Introduction Fig. 1. The Professor Kazimierz Michałowski Faras Gallery, National Museum, Warsaw Fig. 2. The Professor Kazimierz Michałowski Faras Gallery, National Museum, Warsaw Introduction 9 Fig. 3. Church at Old Dongola, drawing, 1906, The Griffi th Institute Archive, Oxford Fig. 4. Ruins at the Old Dongola 10 Introduction Fig. 5. Olena Smaha, A Fragment of The Nativ- Fig. 6. Natalka Sazyk, The Pochaiv Virgin, 2007, ity of Christ Diptych, 2005, wood distemper wood distemper Many artists from Ukraine take part in the Polish initiatives; to them, modern sacral art in Poland is a source of inspiration. In particular is the art of Jerzy Nowosielski, who is well known amongst modern artists whom decorate Orthodox churches and his works have been exhibited in Ukraine and other countries of the region. Paradoxically, the once unwanted icons of 1960s and 1970s, painted for village Orthodox churches in Poland, are now becoming the canon for modern sacral painting in Ukraine (fi g. 2-4). We would like to discuss such issues in our periodical, and hence why articles on modern Orthodox Church art will be published in the future. The periodical Series Byzantina is greatly appreciated internationally, and highly po- sitioned in the Copernicus index. This is, to us, a great honour; at the same time, we strive after broadening the platform of scholarly discourse, which also includes online. Our fi rst attempts at grouping researchers, mainly from Eastern Europe, was on a website organized by Valery Bulgakov.1 The site still has visitors today and we want to revert to that formula, and publish full contents of the previous volumes on our online sites (Polish Institute of World Art Studies2 and Cardinal Stefan Wyszyński University3). This will thereby make our periodicals more accessible on the international forum. Waldemar Deluga 1 http://www.archaeology.kiev.ua/ 2 http://series-byzantina.world-art.pl/ 3 http://www.ihs.uksw.edu.pl/ Series Byzantina XII, pp. 11–21 Eschatological elements in the schemes of paintings of high iconostases Agnieszka Gronek, Jagiellonian University, Cracow The primary division of a Christian church into two parts, alluding in form to an antique Roman basilica, and in ideas to Salomon’s temple, had already been interpreted symbolically in Mistagogia by Maximus the Confessor. This saint theologian who derived neo-platonic ideas from the writings of Pseudo-Dionysius the Areopagite, and who referred to the Jewish tradition, understood a church as a depiction of cosmos, divided into a visible and invisible world, earthly and heavenly, bodily and spiritual.1 No wonder, therefore, that the barrier on the border of these two spheres also acquired a symbolic meaning. In the times of Maximus the Confessor it was open-work, and the fabrics hung between its columns were drawn open for the liturgy.2 Thus, during the service, the faithful, even though they were standing in the nave and, in line with Canon 69 of the Fifth and Sixth Council in Trullo, not allowed entry to the sanctuary3 – had a chance to participate fully in the mystery of the Eucharist, by observing all its phases. Already in the fi rst chapters of Mistagogia by Maximus it is easy to fi nd a similar idea of the dichotomy of unity, referring both to the sacral space, unifi ed though divided into the presbytery and the nave, and to the universe – one universum, consisting of the earthly and heavenly spheres. This sym- bolic analogy was also extended to the man, consisting of a body and a soul, and to the soul destined for lower and higher aims.4 1 Patrologia Graeca, ed. J.P. Migne, vol. 91, chapter 2–4, pp. 667–672. 2 A. Różycka Bryzek, ‘Symbolika bizantyńskiej architektury sakralnej’, in: Losy w cerkwi w Polsce po 1944 roku. Materiały z sesji naukowej Stowarzyszenia Historyków Sztuki pt. „Tragedia polskich cerkwi” w Rzeszowie, Rzeszów 1997, pp. 75–76. 3 A. Znosko, Kanony Kościoła Prawosławnego, vol. I, Hajnówka 2000, p. 96. 4 Patrologia Graeca, vol. 91, chapter 2–4, pp. 667–672. 12 Agnieszka Gronek Changes in the liturgy at the end of the fi rst millennium, caused by the iconoclastic shock, aimed to increase the mystery of the rituals and, at the same time, deepen a sense of God’s unattainability and non-cognisance. It was then that the templon, a purely ar- chitectural structure, began to be adorned with fi gural representations carved in the architrave beam and fl agstones placed on the stylobate, or with painted or mosaic pic- tures hung on and between columns.5 They they primarily became the main medium for conveying deeper nuances. But even earlier the very structure of a templon, as well as the fact that it was placed at the boundary of two complementary spaces, fi
Load more

Recommended publications
  • About Russian Beginnings
    CK_5_TH_HG_P104_230.QXD 2/14/06 2:23 PM Page 209 At a Glance continued ◗ Ivan III (the Great) and Ivan IV (the Terrible) expanded Russian terri- tory and the authority of the czars. ◗ Peter the Great sought to modernize and westernize Russia in order to enable it to compete with European nations for trade, territory, and prestige. ◗ The desire to find a warm-water port was one factor that encouraged Russian expansion. ◗ Catherine the Great, while once interested in reforming certain abuses of Russian government, became as autocratic as her predecessors after a peasant revolt and the French Revolution. ◗ The lives of peasants worsened under Peter and Catherine. Teaching Idea What Teachers Need to Know You may want to teach section B, A. History and Culture “Geography,” before “History and Culture.” Byzantine Influence in Russia The rise of Russia is closely related to the history of the Byzantine Empire, which students in Core Knowledge schools should have encountered in Grades 3 and 4. For a thousand years after the fall of the Roman Empire in the west, the Eastern or Byzantine Empire continued to build on ancient Greek and Roman tra- ditions and culture. For example, Byzantine architects used the Roman dome to build magnificent churches, such as Hagia Sophia in the Byzantine capital of Constantinople (now called Istanbul). Byzantine artists also created beautiful mosaics and icons. Students in Core Knowledge schools should have studied Hagia Sophia and Byzantine mosaics as part of the art curriculum for Grade 3. However, they may not be acquainted with icons, which are special pictures of Jesus, Mary, and the saints.
    [Show full text]
  • Atlas of American Orthodox Christian Monasteries
    Atlas of American Orthodox Christian Monasteries Atlas of Whether used as a scholarly introduction into Eastern Christian monasticism or researcher’s directory or a travel guide, Alexei Krindatch brings together a fascinating collection of articles, facts, and statistics to comprehensively describe Orthodox Christian Monasteries in the United States. The careful examina- Atlas of American Orthodox tion of the key features of Orthodox monasteries provides solid academic frame for this book. With enticing verbal and photographic renderings, twenty-three Orthodox monastic communities scattered throughout the United States are brought to life for the reader. This is an essential book for anyone seeking to sample, explore or just better understand Orthodox Christian monastic life. Christian Monasteries Scott Thumma, Ph.D. Director Hartford Institute for Religion Research A truly delightful insight into Orthodox monasticism in the United States. The chapters on the history and tradition of Orthodox monasticism are carefully written to provide the reader with a solid theological understanding. They are then followed by a very human and personal description of the individual US Orthodox monasteries. A good resource for scholars, but also an excellent ‘tour guide’ for those seeking a more personal and intimate experience of monasticism. Thomas Gaunt, S.J., Ph.D. Executive Director Center for Applied Research in the Apostolate (CARA) This is a fascinating and comprehensive guide to a small but important sector of American religious life. Whether you want to know about the history and theology of Orthodox monasticism or you just want to know what to expect if you visit, the stories, maps, and directories here are invaluable.
    [Show full text]
  • The Frescoes of the Church of the Holy Archangels at Zemo-Krichi, Rača (Georgia) and the Contemporary Monuments on Mani in Southern Greece
    Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας Τομ. 17, 1994 Οι τοιχογραφίες της εκκλησίας των Αγίων Αρχαγγέλων στο Zemo-Krichi, Rača (Γεωργία) και τα σύγχρονά τους μνημεία στη Μάνη στη νότια Ελλάδα CONSTANTINIDES Efthalia http://dx.doi.org/10.12681/dchae.1103 Copyright © 1994 To cite this article: CONSTANTINIDES, E. (1994). Οι τοιχογραφίες της εκκλησίας των Αγίων Αρχαγγέλων στο Zemo-Krichi, Rača (Γεωργία) και τα σύγχρονά τους μνημεία στη Μάνη στη νότια Ελλάδα. Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας, 17, 181-192. doi:http://dx.doi.org/10.12681/dchae.1103 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 26/11/2018 14:26:36 | The Frescoes of the Church of the Holy Archangels at Zemo-Krichi, Rača (Georgia) and the Contemporary Monuments on Mani in Southern Greece Efthalia CONSTANTINIDES Δελτίον XAE 17 (1993-1994), Περίοδος Δ'. Στη μνήμη της Ντούλας Μουρίκη (1934-1991)• Σελ. 181-192 ΑΘΗΝΑ 1994 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 26/11/2018 14:26:36 | Efthalia C. Constantinides THE FRESCOES OF THE CHURCH OF THE HOLY ARCHANGELS AT ZEMO-KRICHI, RACA (GEORGIA) AND THE CONTEMPORARY MONUMENTS ON MANI IN SOUTHERN GREECE J. he destruction through the centuries of countless lengthy inscription written in minuscule letters. This lat­ medieval Christian monuments in eastern Europe and er paleography was indentified by Mrs. Virsalâdze as Asia Minor has enhanced the study of Georgian monu­ belonging to the thirteenth or fourteenth century. Dur­ mental decorations leading to a more comprehensive ing the nineteenth century, the church was enlarged and view of the diffusion of Byzantine art from the tenth to the original west wall was demolished along with its the fifteenth century1.
    [Show full text]
  • Madonna and Child on a Curved Throne C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Thirteenth and Fourteenth Century Paintings Byzantine 13th Century Madonna and Child on a Curved Throne c. 1260/1280 tempera on linden panel painted surface: 82.4 x 50.1 cm (32 7/16 x 19 3/4 in.) overall: 84 x 53.5 cm (33 1/16 x 21 1/16 in.) framed: 90.8 x 58.3 x 7.6 cm (35 3/4 x 22 15/16 x 3 in.) Andrew W. Mellon Collection 1937.1.1 ENTRY The painting shows the Madonna seated frontally on an elaborate, curved, two-tier, wooden throne of circular plan.[1] She is supporting the blessing Christ child on her left arm according to the iconographic tradition of the Hodegetria.[2] Mary is wearing a red mantle over an azure dress. The child is dressed in a salmon-colored tunic and blue mantle; he holds a red scroll in his left hand, supporting it on his lap.[3] In the upper corners of the panel, at the height of the Virgin’s head, two medallions contain busts of two archangels [fig. 1] [fig. 2], with their garments surmounted by loroi and with scepters and spheres in their hands.[4] It was Bernard Berenson (1921) who recognized the common authorship of this work and Enthroned Madonna and Child and who concluded—though admitting he had no specialized knowledge of art of this cultural area—that they were probably works executed in Constantinople around 1200.[5] These conclusions retain their authority and continue to stir debate.
    [Show full text]
  • Download Download
    Journal of Arts & Humanities Volume 10, Issue 02, 2021: 28-50 Article Received: 02-02-2021 Accepted: 22-02-2021 Available Online: 28-02-2021 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: https://doi.org/10.18533/jah.v10i2.2053 The Enthroned Virgin and Child with Six Saints from Santo Stefano Castle, Apulia, Italy Dr. Patrice Foutakis1 ABSTRACT A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston, Massachusetts. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. As a result, it appears that the artist of the central panel comes from the Mystras painting school between 1360 and 1380, the author of the other six panels is Lorenzo Veneziano around 1360, and the altarpiece was not a single commission, but the mounting of panels coming from separate artworks. The officer Frà Domenico d’Alemagna, commander of Santo Stefano castle, had the idea of mounting different paintings into a seven-panel altarpiece between 1390 and 1410. The aim is to shed more light on a piece of art which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression.
    [Show full text]
  • Russian Christian Orthodox Icons of the Mother of God George Contis M.D
    University of Dayton eCommons Marian Library Art Exhibit Guides Spirituality through Art 2015 Russian Christian Orthodox Icons of the Mother of God George Contis M.D. Follow this and additional works at: https://ecommons.udayton.edu/ml_exhibitguides Recommended Citation Contis, George M.D., "Russian Christian Orthodox Icons of the Mother of God" (2015). Marian Library Art Exhibit Guides. 5. https://ecommons.udayton.edu/ml_exhibitguides/5 This Exhibit Guide is brought to you for free and open access by the Spirituality through Art at eCommons. It has been accepted for inclusion in Marian Library Art Exhibit Guides by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H . Russian Christian Orthodox Icons of the Mother of God by George Contis, M.D., M.P.H. Booklet created for the exhibit: Icons from the George Contis Collection Revelation Cast in Bronze SEPTEMBER 15 – NOVEMBER 13, 2015 Marian Library Gallery University of Dayton 300 College Park Dayton, Ohio 45469-1390 937-229-4214 All artifacts displayed in this booklet are included in the exhibit. The Nativity of Christ Triptych. 1650 AD. The Mother of God is depicted lying on her side on the middle left of this icon. Behind her is the swaddled Christ infant over whom are the heads of two cows. Above the Mother of God are two angels and a radiant star. The side panels have six pairs of busts of saints and angels. Christianity came to Russia in 988 when the ruler of Kiev, Prince Vladimir, converted.
    [Show full text]
  • Hotel Prohor Pcinjski, Spa Bujanovac Media Center Bujanovac SPA Phone: +38164 5558581; +38161 6154768; [email protected]
    Telenet Hotels Network | Serbia Hotel Prohor Pcinjski, Spa Bujanovac Media Center Bujanovac SPA Phone: +38164 5558581; +38161 6154768; www.booking-hotels.biz [email protected] Hotel Prohor Pcinjski, Spa Bujanovac Hotel has 100 beds, 40 rooms in 2 single rooms, 22 double rooms, 5 rooms with three beds, and 11 apartments. Hotel has restaurant, aperitif bar, and parking. Restaurant has 160 seats. All rooms have telephone, TV, and SATV. Bujanovac SPA Serbia Bujanovacka spa is located at the southernmost part of Serbia, 2,5 km away from Bijanovac and 360 km away from Belgrade, at 400 m above sea level. Natural curative factors are thermal mineral waters, curative mud [peloid] and carbon dioxide. Medical page 1 / 9 Indications: rheumatic diseases, recuperation states after injuries and surgery, some cardiovascular diseases, peripheral blood vessel diseases. Medical treatment is provided in the Institute for specialized rehabilitation "Vrelo" in Bujanovacka Spa. The "Vrelo" institute has a diagnostic-therapeutic ward and a hospital ward within its premises. The diagnostic-therapeutic ward is equipped with the most modern means for diagnostics and treatment. Exceptional treatment results are achieved by combining the most modern medical methods with the curative effect of the natural factors - thermal mineral waters, curative mud and natural gas. In the vicinity of Bujanovacka Spa there is Prohorovo, an area with exceptional natural characteristics. In its centre there is the St. Prohor Pcinjski monastery, dating from the 11th century, with a housing complex that was restored for the purpose of tourist accommodation. The Prohorovo area encompasses the valley of the river Pcinja and Mounts Kozjak and Rujan, and is an area exceptionally pleasant for excursions and hunting.
    [Show full text]
  • Serbian Wine Routes
    Serbian wine routes Вина са песка Wines from Sands Пут вина - Палић Palić Wine Route History of the Region’s Wines The entire Palić region lies on sandy terrain left tiles. These tanks have a total capacity of by the prehistoric Pannonian Sea. That's why between 33,000 and 67,000 liters. Locals say wines from this area are commonly referred to as that the biggest tank, which is as large as a small sand wines. The sandy soil, a moderate continen- dance hall, was used for parties hosted by Count tal climate and top grape varieties yield very Lederer, the cellar’s founder. appealing wines. The Subotica-Horgoš area has a winemaking tradition that goes back well over The Palić Cellar, founded in 1896, was built where 2,000 years. an agricultural school once stood. It preserved the ancient winemaking heritage of the In the Bačka region winemaking flourished after Subotica-Horgoš sandy heath. Today the WOW the phylloxera epidemic destroyed much of Winery continues the tradition. Europe’s viticulture.. At this time three wine cellars were founded in the vicinity of Palić , Čoka The Muscat Croquant grapevine variety was and in Biserno Ostrvo near Novi Bečej. These planted by count Lipot Rohonczi in Biserno cellars remain the backbone of the region's Ostrvo, where he built a small castle with a wine viticulture. cellar that still exists . The wine made from those grapes was sold in Budapest, London and other The Čoka Cellar, established in 1903, is among the European markets. rare and magnificent monuments of a great wine tradition.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Press Release
    FRICK TO PRESENT FIRST MAJOR NORTH AMERICAN EXHIBITION ON RENAISSANCE PAINTER GIOVANNI BATTISTA MORONI MORONI: THE RICHES OF RENAISSANCE PORTRAITURE February 21 through June 2, 2019 In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lombardy northeast of Milan, and left a corpus of portraits that far outnumbers those of his contemporaries who worked in major artistic centers, including Titian in Venice and Bronzino in Florence. Though Moroni never achieved their fame, he innovated the genre of portraiture in spectacular ways. This winter and spring, Giovanni Battista Moroni (b. 1520–24; d. 1579/80), Portrait of a Young Woman, ca. 1575, oil on canvas, private collection; photo: the Frick presents the first major exhibition in North Michael Bodycomb America devoted to his work, bringing together nearly two dozen of Moroni’s most arresting and best known portraits from international collections to explore the innovations and experiments that belie his masterful illusion of recording reality. They will be shown alongside a selection of complementary objects— Renaissance jewelry, textiles, arms and armor, and other luxury items—that exemplify the material and visual world that Moroni recorded, embellished, and transformed. Moroni: Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia The Riches of Renaissance Portraiture was organized by Aimee Ng, Associate Curator, Moroni Collection; photo: Mauro Magliani 1 The Frick Collection; Simone Facchinetti, Researcher, Università del Salento, Lecce; and Arturo Galansino, Director General, Palazzo Strozzi, Florence.
    [Show full text]
  • ART HISTORY of VENICE HA-590I (Sec
    Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001).
    [Show full text]
  • The Great Church of Constantinople: History, Architecture and Liturgical Challenges
    The Great Church of Constantinople: History, Architecture and Liturgical Challenges Presentation at the New Skete Monastery, August 13, 2006 This presentation is a humble offering to the communities of New Skete and to all who have gathered here. Today 40 years of Christian witness are being remembered. The lives of both the living and departed have brought us together. Lives immersed in prayer, work and study have witnessed and now witness to the need for all to be one with God and each other. I: History The basilica of Hagia Sophia built by emperor Justinian (527-65) follows two earlier structures of the same name located more or less on the same site. The first was completed and dedicated in 360 during the reign of Constantius. This church was greatly damaged by a fire most likely caused by arsonists protesting the banishment of St. John Chrysostom in 404. The second Hagia Sophia built under emperor Theodosius II is rededicated in 415. This church building was again severely damaged by another fire during the NIKA riot of January 532.[1] Leading up to the riot were political i.e. dynastic, religious and social conflicts. During this time there were two rival factions each loyal to its own Christology. These factions also competed with each other in the events of the hippodrome and were known by their respective colors. Thus, those faithful to the Council of Chalcedon (451) were the Blues and those opposed to Chalcedon were known as the Greens. For a brief time Blues and Greens banned together forming a political bloc to oppose Justinian.
    [Show full text]