ARS 2017 1-2.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

ARS 2017 1-2.Pdf ARS 1–2/2017 – 37, 2004, 1—2 38, 2005, 1 38, 2005, 2 39, 2006, 1 39, 2006, 2 – Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Journal of the Institute of Art History Journal of the Institute of Art History Journal of the Institute of Art History Journal of the Institute of Art History Journal of the Institute of Art History of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences 40, 2007, 1 40, 2007, 2 41, 2008, 1 41, 2008, 2 42, 2009, 1 Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Journal of the Institute of Art History Journal of the Institute of Art History Journal of the Institute of Art History Journal of the Institute of Art History Journal of the In sti tu te of Art History of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences of Slovak Academy of Sciences 42, 2009, 2 43, 2010, 1 43, 2010, 2 44, 2011, 1 44, 2011, 2 Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the Insti tu te of Art History Journal of the In sti tu te of Art History of Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences 45, 2012, 1 45, 2012, 2 46, 2013, 1 46, 2013, 2 47, 2014, 1 Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences 47, 2014, 2 48, 2015, 1 48, 2015, 2 49, 2016, 1 49, 2016, 2 Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Časopis Ústavu dejín umenia Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Slovenskej akadémie vied Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In sti tu te of Art History Journal of the In stitu te of Art History Journal of the Insti tu te of Art History of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences of the Slovak Academy of Sciences – VÝKONNÝ REDAKTOR / EDITORIAL ASSISTANT: The book is the first part of a three-volume work dealing with medieval sacral architecture in Slovakia. It focuses on ZOSTAVOVATEĽ / EDITOR: the question of multifunctionality of the sacral buildings Veronika Kucharská in different historical and social contexts. The first chapter addresses the sacral architecture in the period of the beginnings of Christianity on the territory of Slovakia REDAKČNÝ KRUH / EDITORIAL BOARD: (as the part of the Great Moravia and later of the Barbara Balážová, Dana Bořutová, Ivan Gerát, Jozef Medvecký Kingdom of Hungary). The second chapter deals with the churches with central ground plan (rotundas), the third with monasteries and chapters. The publication is an interdisciplinary team work of art historians (D. Buran, D. Haberland, B. Pomfyová), archaeologists (M. Samuel), RADA PORADCOV / ADVISORY BOARD: architectural historians (M. Bóna), historiographers and archivists (R. Ragač, J. Šedivý, Prof. Dr. Wojciech Bałus (Jagellonian University, Krakow), Prof. Dr. László Beke (Hungarian Academy of Sciences, Bu- M. Tihányiová, H. Žažová). dapest), Prof. Dr. Heinrich Dilly (Martin-Luther-Universität Halle-Wittenberg), Dr. Marina Dmitrieva (Geisteswissenschaftliches Zentrum Geschichte und Kultur Ostmitteleuropas an der Universität Leipzig), Prof. James Elkins (School of the Art Institute of Chicago and University College Cork), Prof. Robert Gibbs (University of Glasgow), Prof. Dr. Thomas DaCosta Kaufmann (Princeton University), Prof. PhDr. Jiří Kuthan, DrSc. (Charles University in Prague), Prof. Dr. Sergiusz Michalski (Eberhard Karls Universität Tübingen), Dr. Milan Pelc (Institute of Art History, Zagreb), Prof. Dr. Piotr Piotrowski † (Adam Mickiewicz University, Poznan), Prof. Dr. Michael Viktor Schwarz (Universität Wien), Prof. Paul Stirton (The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New York), Prof. Dr. Viktor I. Stoichita (Université de Fribourg), Prof. Dr. Wolf Tegethoff (Zentralinstitut für Kunstgeschichte, München) ADRESA REDAKCIE / ADDRESS OF EDITOR’S OFFICE: Ústav dejín umenia SAV, Dúbravská cesta 9, SK-841 04 Bratislava 4, IČO: 00 228 061, Tel./Fax: 0421-2-54793895 [email protected], http://www.dejum.sav.sk – TEXTY / TEXTS © 2017 š JAZYKOVÁ KOREKTÚRA: Veronika Kucharská The bilingual slovak-english book presents a comprehensive view of the history and current status of the main altar to the cathedral church of St. Elizabeth in Košice. The publication is rich on Časopis je evidovaný v databázach / The journal is indexed in Avery Index to Architectural Periodical unique reproductions of paintings and their details, considered to be the top of late gothic painting Bibliography of the History of Art EBSCO, Ulrich’s Periodicals Directory in Europe. @ÂÅ ÌÕæ¥É .ĉÌËÌ8×kÌzæ ùÅÌËÌ"×NkÂÌ¥sÕ $NÅ@ÌËÌ ÎkÎÅ $.ÌÕææ}ÌsÌÕæ¥ÊÌËÌ $.,;ÌÕææ}ÌsÌÕæ¥Ê 4ÝbÌËÌ ÎÂb×XÎÌ Ì¯Ð° ×ÎÂÅáÌÂkÅÎkÂÌËÌ ×ÎÂÌbkß Ì̯z° 1k@ÎXáÌÂkÅÎkÂÌËÌ 1­XÌbkßÌ Ì¯Õа Dejiny umenia – historiogra \ a, teória, metodológia, osobnosti / History of Fine Art – Historiography, Theory, Methodology, Personalities (23) Antické umenie a predrománske umenie 6. – 10. storo ÿia / Antiquity and Pre-Romanesque Art of the 6th – 10th Century (24) Románske umenie 11. – 13. storo ÿia / Romanesque Art of the 11th – 13th Century (24) Gotické umenie 13. – 15. storo ÿia / Gothic Art of the 13th – 15th Century (24) Renesan ÿné umenie 15. – 16. storo ÿia / Renaissance Art of the 15th – 16th Century (25) Barokové a rokokové umenie 17. – 18. storo ÿia / Baroque and Rococo Art of the 17th – 18th Century (25) Umenie 19. storo ÿia / 19th Century Art (26) Umenie prelomu 19. a 20. storo ÿia / Art from the Turn of the 19th Century (26) Umenie 1. polovice 20. storo ÿia / Art of the 1st half of 20th Century (26) Umenie 2. polovice 20. storo ÿia / Art of the 2nd half of 20th Century (27) Umenie v kontexte historických udalostí / Art in the Context of Historical Events (27) Materiály / Materials (27) Recenzie / Reviews (28) Úvody / Introductions (28) Kronika, Správy / Chronicle, Reports (28) Obhajoby dizerta ÿných prác / Defence of Dissertations (29) !káÌÂkÅÎkÂÌËÌ bkßÌxÌ"@kÅÌ Ì¯Ð¥° !kÅÎàÌÂkÅÎkÂÌË bkßÌxÌ,@XkÅÌ Ì¯¥æ° 4Ýb V poradí tretia bibliogra \ a umeleckohistorického ÿasopisu ARS vydávaného Ústavom dejín umenia SAV od roku 1967, vychádza v jubilejnom 50. ro ÿníku a spracováva roky 2004 – 2016 v rozsahu 25 ÿísiel. Tvorí ju autorský, tematický, menný a miestny register, v úvode s preh ĺadom obsadenia redak ÿných rád a redakcií v danom období. A u t o r s k ý register zah ōł a ÿlánky a štúdie 182 domácich a zahrani ÿných autorov. þísla uvedené pod jednotlivými príspevkami sú zárove ł smerodajné pre vyh ĺadávanie v mennom a miestnom registri, kde ÿíslo pred lomítkom ozna ÿuje príspevok a ÿíslo za lomítkom stranu, kde sa uvedené meno/miesto nachádza. T e m a t i c k ý register je štruktúrovaný chronologicky pod ĺa jednotlivých slohovo-štýlových období a zá- rove ł pod ĺa štruktúry ÿasopisu a jeho jednotlivých rubrík. M e n n ý register v rozsahu vyše 8 tisíc mien uvádza mená osôb, doplnené o názvy umeleckých spolkov. Mená panovníkov sú uvádzané pod ich krstným menom. M i e s t n y register zah ōł a geogra \ cké názvy (krajiny, mestá, obce, rieky, pohoria at Đ.), vrátane pamiatok (kostoly, hrady, iné budovy) a inštitúcií. Názvy miest sú uvedené v úradnom jazyku, nasleduje ich zaužívaný slovenský názov (napr. Wien/Viede ł; odkaz Viede ł ĺWien). Lokality nachádzajúce sa v rámci mesta/obce (ulice, stavby) sú uvedené pod daným mestom, inštitúcie s celonárodným významom (napr. Slovenská národná galéria) pod danou krajinou. Menný a miestny register nezah ōł ajú údaje uvedené v po- známkach pod ÿiarou. Redak ÿné rady ÿasopisu ARS v rokoch 2004 – 2016 HLAVNÝ REDAKTOR 2004 – 2015: Ján Bakoš REDAK þNÁ RADA 2004 – 2007: Katarína Bajcúrová, Ján Bakoš, Dana Bo őutová, Ingrid Ciulisová, Ivan Ge- rát, Ivo Hlobil, Štefan Hol ÿík, Ji őí Kroupa, Jozef Medvecký, Iva Mojžišová, Mária Pötzl-Malíková, Ivan Rusina, Milan Togner REDAK þNÁ RADA 2008 – 2015: Ján Bakoš, Dana Bo őutová, Ingrid Ciulisová, Ivan Gerát, Jozef Medvecký REDAK þNÁ RADA 2016, þ. 1: Barbara Balážová, Dana Bo őutová, Ingrid Ciulisová, Ivan Gerát, Jozef Medvecký REDAK þNÁ RADA 2016, þ. 2: Barbara Balážová, Dana Bo őutová, Ivan Gerát, Jozef Medvecký REDAKCIA : Martin Van ÿo, Jozef Medvecký 2005, ÿ.
Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Donatello's Terracotta Louvre Madonna
    Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it.
    [Show full text]
  • Google Courts China Partners Currency Collapse
    WANT TO START FUTURES TRADING? ADVERTISEMENT THERE’SNOTIMELIKETHEPRESENT. LearnmoreabouttradingFutureswithTDAmeritradeonR6. ***** MONDAY, AUGUST 13, 2018 ~ VOL. CCLXXII NO. 36 WSJ.com HHHH $4.00 Last week: DJIA 25313.14 g 149.44 0.6% NASDAQ 7839.11 À 0.3% STOXX 600 385.86 g 0.8% 10-YR. TREASURY À 26/32 , yield 2.859% OIL $67.63 g $0.86 EURO $1.1412 YEN 110.90 What’s White-Nationalist Rally, Dwarfed by Protesters, Fizzles Investors News Focus on Turkish Business&Finance Lira’s Fall lphabet’s Google is Awooing partners in Higher U.S. tariffs China for a potential ex- pansion there even as its on steel and aluminum search engine and Gmail increase uncertainty remain officially blocked. A1 in currency markets Private-equity firms are increasingly lending to BY JACOB M. SCHLESINGER midsize companies, fueled AND MICHAEL WURSTHORN by an influx of cash from yield-hungry investors. A1 Emerging-market investors U.S. oil companies, are preparing for an unsteady primed to reap the bene- start to the week after a week- fits of rising prices after end marked by heightened years of wringing more from rhetoric, renewed trade ten- wells for less, are seeing prof- sions and a deeper slide in the its erode as costs rise. B1 Turkish lira. The lira sank to a record Digital currency Tether low on Sunday evening after hasn’t produced an audit collapsing last week. The cur- showing it has the dollar rency is now down more than reserves to back its ap- 40% this year, while bond proximately $2.5 billion of JIM LO SCALZO/EPA/SHUTTERSTOCK yields have skyrocketed, push- coins in circulation.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019
    ITALIAN ART SOCIETY NEWSLETTER XXX, 1, Winter 2019 An Affiliated Society of: College Art Association International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts benefactors. These chiefly support our dissertation, research and publication grants, our travel grants for modern topics, February 15, 2019 programs like Emerging Scholars workshops, and the cost of networking and social events including receptions. The costs Dear Members of the Italian Art Society: of events, especially, have risen dramatically in recent years, especially as these have largely been organized at CAA and I have generally used these messages to RSA, usually in expensive cities and often at even more promote upcoming programing and events, to call expensive conference hotels. The cost of even one reception attention to recent awards, and to summarize all the in New York, for example, can quickly balloon to activities we regularly support. There are certainly no overshadow our financial support of scholarship. It will be a shortage of such announcements in the near future and significant task for my successor and our entire executive I’m certain that my successor Mark Rosen will have committee to strategize for how we might respond to rising quite a bit to report soon, including our speaker for the costs and how we can best use our limited resources to best 2019 IAS/Kress lecture in Milan. With the final of my fulfill our mission to promote the study of Italian art and messages as president, however, I wanted to address a architecture.
    [Show full text]
  • 018-245 ING Primavera CORR 24,5 X 29.Qxp
    Under the High Patronage of the President of the Italian Republic !e Springtime of the Renaissance. Sculpture and the Arts in Florence – Florence, Palazzo Strozzi, March– August Paris, Musée du Louvre, September – January With the patronage of Concept by Website Ministero degli Affari Esteri Beatrice Paolozzi Strozzi Netribe Ministero per i Beni e le Attività Culturali Marc Bormand Ambassade de France en Italie Programming for families, youth and adults Curated by Fondazione Palazzo Strozzi Beatrice Paolozzi Strozzi Promoted and organized by Marc Bormand School groups and activities Sigma CSC With the collaboration of Ilaria Ciseri Exhibition reservation office Sigma CSC Realized by Fondazione Palazzo Strozzi Exhibition and ticket office staff TML Service Scholarly and editorial coordination and accompanying texts in the exhibition Multichannel ticket office Ludovica Sebregondi TicketOne Installation design Audioguide Luigi Cupellini START with the collaboration of Carlo Pellegrini Insurance Exhibition installation AON Artscope Galli Allestimenti Lloyd’s Atlas e Livelux Light Designers CS Insurance Service Stampa in Stampa Alessandro Terzo Transportation Franco Bianchi Arterìa Installation and condition report works on paper with Julie Guilmette Head of security Ulderigo Frusi Exhibition graphics and communication design RovaiWeber design Head of prevention and protection service Translation of accompanying texts in the exhibition Andrea Bonciani Stephen Tobin (Italian–English) Lara Fantoni (English–Italian) Electrical system assistance Xue Cheng (Italian–Chinese) and maintenance Mila Alieva (English–Russian) Bagnoli srl Gabrielle Giraudeau (Italian–French) Alarm system assistance Family itinerary and maintenance James M. Bradburne Professional Security srl Cristina Bucci Chiara Lachi Air-conditioning/heating system assistance and and maintenance Communication and promotion R.S.
    [Show full text]
  • Hija De Tommaso I, Conde De Saboya
    REAL ACADEMIA MATRITENSE DE HERÁLDICA Y GENEALOGÍA DESCENDENCIA MATRILINEAL DE DOÑA INÉS DE NAVARRA. Por Carlos Robles do Campo Académico de Número Circulan por Internet varios trabajos que presentan la descendencia matrilineal de Adelaide de Béziers, haciendo descender de esta señora a doña Juana Núñez de Lara, pretendiéndola hija de doña Teresa Diaz de Haro, cuando en realidad su madre fue doña Teresa Álvarez de Azagra. Con objeto de corregir tal error, que ya ha sido denunciado en otras ocasiones por grandes genealogistas como Szabolcs de Vajay, presento este trabajo que intenta mostrar toda la descendencia femenina, por líneas exclusivamente femeninas de la antepasada más antigua conocida de S.M. la Reina Doña Sofía de España. Componen esta familia, al menos, 737 mujeres de las cuales 98 viven en la actualidad. Entre ellas podemos encontrar 140 soberanas o soberanas consortes, 11 emperatrices (dos de ellas propietarias : Catalina II, Emperatriz de Rusia y Victoria I, Reina de Gran Bretaña y Emperatriz de la India), 42 reinas (cuatro propietarias : Blanca y Leonor de Navarra, Cristina de Suecia y María I de Portugal), 10 reinas consortes de España, 6 de Francia, 4 de Polonia, 3 de Suecia y 2 de Portugal.), 3 grandes duquesas soberanas consortes, 8 princesas electrices soberanas consortes, 24 duquesas soberanas consortes y otras 26 duquesas reinantes del Sacro Imperio, 2 archiduquesas-condesas reinantes de Tirol consortes, 4 princesas soberanas consortes, 50 princesas reinantes consortes del Sacro Imperio, 2 marquesas reinantes y 31 Condesas reinantes del SI. También 14 esposas de herederos de 10 reinos, 1 gran ducado y 2 ducados.
    [Show full text]
  • Passepartour 2019
    PASSEPARTOUR 2019 FIRENZE OLTRARNO THE KEYS OF ACCESSIBILITY Florence is a world heritage site and as such it must be accessible to all, without exclusion. Florence welcomes people with physical disabilities due to an abundance of pedestrian areas and accessible historical and artistic sites. It is also unde- niable that some routes of the city-center - similar to many other historical cities throughout the world - may present some difficulties for people using wheelchairs: for example narrow streets, tiny sidewalks that are not easily passable or not homogeneous pavement. To address this problem and provide information on which paths are the best to follow for people with physical disabilities, the Municipality of Florence in collaboration with Kinoa Srl have designed and published this Guide. The PASSEPARTOUR project is made up of four volumes, each describing four different tourist itineraries "without barriers". In addition, the guide provides a map of the historical city-center, highlighting all the areas that can be navigated with complete autonomy, or with the support of a helper. In addition, Kinoa has developed the navigation app Kimap, which acts as a companion tool to the guide for the mobility of disabled people. Kimap can be downloaded for free on every smartphone: the app shows the most accessible path to reach your desired destination and is constantly updated. We hope that this project will contribute to improve the tourist experi- ence for those visiting our marvellous City, opening the doors to its extraordinary heritage. Cecilia Del Re Councilor for Tourism of the City of Florence Florence is a world heritage site and as such it must be accessible to all, without exclusion.
    [Show full text]
  • The Antiquarian and His Palazzo
    THE ANTIQUARIAN AND HIS PALAZZO A case study of the interior of the Palazzo Davanzati in Florence R.E. van den Bosch The antiquarian and his palazzo A case study of the interior of the Palazzo Davanzati in Florence Student: R.E. (Romy) van den Bosch Student no.: s1746960 Email address: [email protected] First reader: Dr. E. Grasman Second reader: Prof. dr. S.P.M. Bussels Specialisation: Early modern and medieval art Academic year: 2018-2019 Declaration: I hereby certify that this work has been written by me, and that it is not the product of plagiarism or any other form of academic misconduct. Signature: ACKNOWLEDGEMENT This thesis is the result of a long and intense process and it would not have been possible without the help and encouragement of a number of people. I would first like to thank my thesis advisor Dr. Edward Grasman. Thanks to his patience and guidance throughout this long process and the necessary steering in the right direction when I needed it, I can now finish this project. Secondly, I would like to thank Prof. Dr. Paul van den Akker and Drs. Irmgard Koningsbruggen. My love for Florence began during a school excursion led by these two great teachers, who showed us the secret and not so secret places of Florence, and most importantly, introduced me to the Palazzo Davanzati. Finally, I must express my profound gratitude to my parents and my sister for their love, unfailing belief and continuous encouragement in me during this process, and to my friends, family and roommates, who picked me up when I had fallen down and constantly reminded me that I was able to finish this process.
    [Show full text]
  • EURIG Annual Meeting Fiesole 2017
    EURIG Annual meeting local host Fiesole 2017 What to see in Florence Ponte Vecchio One of the main symbols of Florence, the bridge spans the Arno at its narrowest point. Butchers initially occupied the shops; the present tenants are jewellers, art dealers and souvenir sellers. The monument in honour of Benvenuto Cellini was created in 1900 to mark the fourth century of the birth of the great Florentine sculptor and master goldsmith. Museo dell’Opera del Duomo: Cathedral, Baptistery, Giotto’s Bell Tower & Museum Santa Maria del Fiore Cathedral: Florence’s main church was begun in 1296 with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. Giotto’s Bell Tower: one of the showpieces of the Florentine Gothic architecture. Baptistery of St. John: one of the oldest buildings in the city, built between 1059 and 1128. The architecture is in Florentine Romanesque style. Museo dell’Opera del Duomo: houses Lorenzo Ghiberti’s original doors for the Baptistery of Florence Cathedral, called the Gates of Paradise, as well as masterpieces by Michelangelo, Donatello, Lorenzo Ghiberti, Luca della Robbia, Arnolfo di Cambio and many others. Piazza Del Duomo Various opening hours: see www.ilgrandemuseodelduomo.it Basilica di Santa Croce The Basilica is the largest Franciscan church in the world. Its most notable features are its sixteen chapels, many of them decorated with frescoes by Giotto and his pupils, and its tombs and cenotaphs. The main cloister, houses the Cappella dei Pazzi. Piazza Santa Croce, 16 Opening hours: from Monday to Saturday, 9.30-17; Sunday, 14-17.
    [Show full text]
  • Cover Page.Ai
    CULTURAL CONSTRUCTIONS: DEPICTIONS OF ARCHITECTURE IN ROMAN STATE RELIEFS Elizabeth Wolfram Thill A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics. Chapel Hill 2012 Approved by: Dr. Monika Truemper Dr. Sheila Dillon Dr. Lidewijde de Jong Dr. Mary Sturgeon Dr. Richard Talbert ABSTRACT ELIZABETH WOLFRAM THILL: Cultural Constructions: Depictions of Architecture in Roman State Reliefs (Under the direction of Monika Truemper) Architectural depictions are an important window into crucial conceptual connections between architecture and culture in the Roman Empire. While previous scholarship has treated depictions of architecture as topographic markers, I argue that architectural depictions frequently served as potent cultural symbols, acting within the broader themes and ideological messages of sculptural monuments. This is true both for representations of particular historic buildings (identifiable depictions), and for the far more numerous depictions that were never meant to be identified with a specific structure (generic depictions). This latter category of depictions has been almost completely unexplored in scholarship. This dissertation seeks to fill this gap, and to situate architectural depictions within scholarship on state reliefs as a medium for political and ideological expression. I explore the ways in which architectural depictions, both identifiable and generic, were employed in state-sponsored sculptural monuments, or state reliefs, in the first and second centuries CE in and around the city of Rome. My work is innovative in combining the iconographic and iconological analysis of architectural depictions with theoretical approaches to the symbolism of built architecture, drawn from studies on acculturation (“Romanization”), colonial interactions, and imperialism.
    [Show full text]
  • Dutch Royal Family
    Dutch Royal Family A Wikipedia Compilation by Michael A. Linton PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Fri, 08 Nov 2013 22:31:29 UTC Contents Articles Dutch monarchs family tree 1 Chalon-Arlay 6 Philibert of Chalon 8 Claudia of Chalon 9 Henry III of Nassau-Breda 10 René of Chalon 14 House of Nassau 16 Johann V of Nassau-Vianden-Dietz 34 William I, Count of Nassau-Dillenburg 35 Juliana of Stolberg 37 William the Silent 39 John VI, Count of Nassau-Dillenburg 53 Philip William, Prince of Orange 56 Maurice, Prince of Orange 58 Frederick Henry, Prince of Orange 63 Amalia of Solms-Braunfels 67 Ernest Casimir I, Count of Nassau-Dietz 70 William II, Prince of Orange 73 Mary, Princess Royal and Princess of Orange 77 Charles I of England 80 Countess Albertine Agnes of Nassau 107 William Frederick, Prince of Nassau-Dietz 110 William III of England 114 Mary II of England 133 Henry Casimir II, Prince of Nassau-Dietz 143 John William III, Duke of Saxe-Eisenach 145 John William Friso, Prince of Orange 147 Landgravine Marie Louise of Hesse-Kassel 150 Princess Amalia of Nassau-Dietz 155 Frederick, Hereditary Prince of Baden-Durlach 158 William IV, Prince of Orange 159 Anne, Princess Royal and Princess of Orange 163 George II of Great Britain 167 Princess Carolina of Orange-Nassau 184 Charles Christian, Prince of Nassau-Weilburg 186 William V, Prince of Orange 188 Wilhelmina of Prussia, Princess of Orange 192 Princess Louise of Orange-Nassau 195 William I of the Netherlands
    [Show full text]
  • The Choreographic Imagination in Renaissance Art
    THE CHOREOGRAPHIC IMAGINATION IN RENAISSANCE ART Olivia Powell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Olivia Powell All Rights Reserved ABSTRACT The Choreographic Imagination in Renaissance Art Olivia Powell This dissertation studies the complex relationship between Italian Renaissance art and dance. Interdisciplinary scholarship has hitherto focused on Renaissance dance treatises, which often exhibit parallels with contemporary writings on painting and sculpture. My research goes beyond the textual parallels to focus instead on the mechanisms of figuration in the visual arts, and on the corporeal sensibility of the Renaissance image. I examine the ways in which figural patterns, interactions, and gestures can be understood in terms of choreography. At issue is the nature of figural composition and of the figure itself, the characteristics of the dancing body and the role of that body within the corporeal imagination of the artist. The fundamental thesis is that the Renaissance artist can be considered a choreographer in his own right. Chapter One (From Solo to Chorus) provides a framework for thinking about the artist as choreographer by discussing at length Leon Battista Alberti’s On Painting (1435/36). First, I show that Alberti’s definition of figural composition is essentially choreographic, in that it concerns the formal organization of bodies that move with expressive purpose. Secondly, I analyze Alberti’s emphasis upon the Calumny of Apelles and the Three Graces, themes from Antiquity that express an aesthetic held in tension between the poles of fury and grace.
    [Show full text]