Soon after his graduation, Sobotka began work for the sculpture department of the Berlin museums, from then until his death on the Serbian front contributing to the Thieme/Becker Allgemeines Lexikon, ...vol. 3 (1909)-11 (1915), while preparing a collaboration with Oskar Pollak (1883-1915) on a documentation of baroque art in Rome, as well as a critical edition of Giulio Mancini's Considerazioni sulla Pittura, the results destined not to see the light of day until very long after his death. Particularly his longer reviews of Rolfs and Rousseau illustrate the more robust methodology then emerging in among other questions, those surrounding generalizations based on too narrow a sample of data, the problems of regional styles and levels and types of influences, relative reliability of historical sources, bibliographical knowledge and objectivity, and common sense in tracing the development of given artistic currents. ...there are many paintings mentioned which are no longer in Naples, have been destroyed, lost or only recorded in documents. In other words, scholarship can only recognize a 'school' in reference to a local development when the art there treats problems peculiar to it, such as in Venice, when it resolves a given general problem as in Bologna, or else contributing a particular nuance to its resolution, as it occurred in Naples in the 18th century for example.
For the first time, the symposium on the History of Architectural History, organised by Henrik Karge (Dresden) and Sabine Frommel (Paris) at the Accademia Nazionale di San Luca in Rome, analysed ...architectural history as a European phenomenon. The participants – renowned experts from Italy, Germany, France, Spain, Denmark, Poland, Hungary and Greece – described the genesis and development of the historiography of architecture within the panorama of historical sciences, especially in relation to the history of art. Of particular importance is the role that architectural history played in the constitution of national identities in the course of nation building, and thus also national conflicts, in 19th and 20th century Europe. In various contributions, the historians of architecture were examined: art historians, architectural theorists and practical architects have each developed specific perspectives. In this way, the special feature of the Roman school of architecture was elaborated, which consisted in keeping alive the awareness of historical models in the training of architects, even under the reign of 20th century modernism and postmodernism. Finally, current aspects of digital techniques and global aspects in the analysis and visualisation of architecture were also dealt with.
Prodeštva patra Ivana Muliha, črnomeljskog Hrvata, isusovačkog redovnika i nakon ukinuća reda „slavne zagrebačke biškupije mašnika i zasad mišionara apoštolskog“, izdana su koncem 18. stoljeća u dva ...dijela. U navedenim propovijedima Ivan Mulih većinom izostavlja najtipičnije barokne figure poput raznovrsnih gomilanja, kako nekontrastnih, tako i kontrastnih (antitetičnih) i alegorije te se iz ove činjenice može zaključiti, da su barokni stilski postupci uistinu samo „oaze esteticizma“ u njegovu djelu odnosno da je barok u njemu doista samo „rubna pojava“. Isto tako, Mulihove pelde su atipični exempli, jer ne odgovaraju Quintilijanovoj odredbi: „res gestae aut ut gestae utilis ad persuadendum id quod intenderis commemoratio“, tj. sadrže vanjski izvor sadržaja (Biblija), utilitarnu funkciju (pouka, koncizno izražena u biblijskoj sentenciji) ali ne i literarnu formu (commemoratio, minimalna narativna forma ili Jollesov „jednostavni oblik“), te na taj način odudaraju od tipičnih baroknih exempla. Naime, upravo je književna kvaliteta barokne propovijedi odnosno njen barokni stil proizlazio velikim dijelom iz obilja i koloritne raskoši njenih exempla. Prodeštva patra Muliha, međutim, reduciraju ovo obilje i koloritnu raskoš na prepričavanje primjera iz Sv. pisma (češće) i zbirki primjera (rjeđe), koji s retoričkog stajališta odgovaraju onom applicatio (prispodoba), no s književnoumjetničkog aspekta nezanimljivi su. Zlatno doba kajkavske barokne propovjedne književnosti započeto u drugoj polovici 17. stoljeća djelima isusovca Jurja Habdelića („Zerczalo Marianzko“, 1662. i „Pervi otcza nassega Adama greh“, 1674.) svoju je kulminaciju doseglo u prvoj polovici 18. stoljeća „Hranom duhovnom“, opsežnim petosveščanim djelom kapucina Štefana Zagrepca (građanskim imenom Matija Marković) i Ivan se Mulih javlja tek kao blijedi odjek tih „zlatnih baroknih vremena“, prije svega zbog odsuća bogata baroknog ornatusa u njegovim propovijedima. Ono što ga na neki način eskulpira dvije su objektivne okolnosti: ukinuće isusovačkog reda (1773.), kao glavnog nositelja crkvenog baroka te neizvjestan osobni status tog bivšeg isusovca.
The prodeštva (sermons) by father Ivan Mulih were published at the end of the 18th century in two volumes. He was a Croat from Črnomelj, a Jesuit monk who continued to act as such even after the order was abolished in the Zagreb Diocese. Ivan Mulih for the most part avoids the most typical baroque forms, the various accumulation of non-contrast forms as well as contrast (antithetical) ones, the allegories. On basis of this fact it may be concluded how the baroque stylistic approaches were only „aestheticism oasis” in his work, i.e., only „marginal phenomenon“. Similarly, Mulih's descriptions are not typical examples because they do not conform with Quintiliani's stipulation: „res gestae aut ut gestae utilis ad persuadendum id quod intenderis commemoratio“, i.e., they contain the external content source (the Bible), the utilitarian function (teaching, concisely expressed in a biblical sentence), but not the literary form (commemoratio, minimal narrative form or Jolle's „simple form“), hence there is a stark contrast in respect to the typical baroque exempla. Namely, the literal quality of the baroque sermon, i.e. its baroque style was mostly the result of abundance and colourful profusion of its exempli. However, in father Mulih's prodeštva this abundance and colourful profusion is (more often) reduced to more retelling of examples from the Scriptures, and (less often) to a collection of examples that conform with the applicatio (parable) from the rhetorical point of view, but are not interesting if focusing on their literary and artistic aspect. The golden era of the Kajkavian baroque sermon literature was initiated in the second half of the 17th century with the works of the Jesuit Juraj Habdelić („Zerczalo Maianzko“, 1962, and „Pervi otcza nassega Adama greh“, 1674), reaching its culmination in the first half of the 18th century with „Hrana duhovna“, a comprehensive five-volume work by the Capuchin, Štefan Zagrebec (civil name Matija Marković). Ivan Mulih appears only as a faint echo of those „golden baroque times“, mostly due to the absence of the rich baroque ornatus in his sermons. There are two objective circumstances that exculpate him in a way: the abolishment of the Jesuit order (1773) as the main carrier of
Una picciola favoletta. The fortune of Vico’s metaphor in the Twentieth Century. Vico’s idea of metaphor, as it emerges by reading the main works of the Neapolitan philosopher, is still alive more ...than ever, and it invites us to reconsider our cognitive modalities that, in obedience to the Cartesian cult of logic and objectivity, often operate in detriment to fantasy and emotions.
L’autrice tratta di alcuni rarissimi parati e arredi sacri del periodo barocco e rococò rinvenuti in Sicilia che si avvalgono della tecnica in cannette di vetro veneziano, adoperata talora anche per ...il reintegro di manufatti più antichi.
Whose Memory? Whose Forgetting? Freeman, Lisa A
Eighteenth-century studies,
01/2023, Letnik:
57, Številka:
1
Journal Article
Recenzirano
When we consider the fields of Eighteenth-Century Studies and Theater and Performance Studies, it would be difficult to think of a scholarly book that has been more influential and more far-reaching ...than Joseph Roach's Cities of the Dead: Circum-Atlantic Performance, first published by Columbia University Press in 1996. Some might say that Roach's study of embodied performance across what he deftly termed, drawing on the influential work of Paul Gilroy, the "Circum-Atlantic" has traveled an almost immeasurable distance from his own dissertation work, conducted at Cornell University so many years ago, on "Vanbrugh's English Baroque: Opera and the Opera House in the Haymarket. Even more, we can trace the Baroque as an influence on the style and substance of Roach's capacious mode of thought, specifically the emphasis on repetition with a difference and the ability to discern those variations with a fine-tuned acuity that understands ornamentation as an embodied expression of the incongruous conditions of human life. From his training as a theater historian at Cornell, to his time at Northwestern alongside the field-defining performance ethnographer Dwight Conquergood, to his sojourn at New York University in the company of performance theorists such as Peggy Phelan, Diana Taylor, and Richard Schechner (himself the inheritor of the mantel of the ground-breaking anthropologist Victor Turner), we can trace the impress of exchanges of ideas with some of the most formative thinkers in the field of theater and performance studies.
Ovom članku cilj je rekonstruirati barokni izgled jedne od najvažnijih crkava koje vezuju kasnosrednjovjekovnu i novovjekovnu povijest Slavonije – crkve sv. Lovre u Požegi. Radom će biti podrobno ...obuhvaćene (posljednjih tridesetak godina zanemarene) brojne barokne intervencije koje je – od dolaska u grad i preuzimanja crkve do ukinuća reda 1773. godine – provodila Družba Isusova, čime je uvelike utjecala na preoblikovanje interijera i eksterijera crkve te odabir likovne opreme u skladu s napucima tridentskog katolicizma. Budući da je većina baroknog inventara crkve nakon ukinuća reda raznesena po crkvama u široj okolici Požege, ovaj članak nastojat će rekapitulirati što je od inventara sačuvano in situ, što je, gdje i u kakvome stanju pronađeno te kakav je bio izgled one likovne opreme o kojoj saznajemo isključivo iz arhivskih izvora.
The aim of this paper is to present the least researched stylistic period of originally medieval church of St. Lawrence in Požega – baroque. Church of St. Lawrence was donated by the Holy Roman Emperor and King of Hungary, Croatia, and Bohemia Leopold I of Habsburg to the Society of Jesus at the end of the 17th century. The church was rebuilt in the spirit of post-Tridentine rebuilding. Interventions were carried out on the architecture of the church according to the instructions of Charles Borromeo, followed by the purchase of art equipment according to the guidelines of the last 25th convocation of the Council of Trent held in the year 1563.The church was decorated with the main illusionist altar with the altarpiece of St. Lawrence, the altars of the main nave dedicated to St. Joseph and St. Francis Xavier, altar of St. Cross in the side nave erected by the Brotherhood of St. Cross and the altar of St. Aloysius Gonzaga leaned against one of the arcade logs between the mane and side nave. To this day, only the altars of St. Joseph and St. Francis Xavier and the sculptural group from the altar of St. Cross were preserved as they were, after the abolition of the Jesuit order, transferred to the parish church of St. Mary Magdalene in Bebrina. Altar paintings of St. Joseph and St. Francis Xavier were replaced by sculptures of St. Joseph and the cave of Our Lady of Lourdes in the first half of the 20th century.As in most Jesuit churches throughout Croatia and the rest of Europe, St. Lawrence church in Požega had a chapel dedicated to Our Lady of Loreto (the first chapel of Our Lady of Loreto in the Kingdom of Slavonia) which was demolished during the restoration of the church in the first half of the 19th century. In addition to the illusionist painting of the Loreto Chapel and the main altar of the church, the ceiling of the main nave of the church was also painted with scenes of the martyrdom of St. Lawrence and an illusionist dome (which marked the first appearance of illusionist painting in Croatia) modeled on that of the Jesuit church in Vienna by the famous Italian painter of the time Andrea Pozzo. The illusionist dome was unfortunately removed during later renovations of the church, so that only remaining relics of the Jesuit period are the sculpture of the so-called „Thallerova Gospa“ and the tombstone of Franjo Ksaver Pejačević.After the abolition of the Jesuit order in 1773, the Jesuits left Požega, and St. Lawrence church passed into the hands of the Pauline order from Lepoglava when its gradual decline began until the neo-Gothic restoration during the 19th and 20th century, and a complete renovation at the end of the 20th century after which the church of St. Lawrence became the Episcopal Chapel.
The fair draught of Óðinn Eggertsdóttir, Margrét
European journal of Scandinavian studies,
04/2021, Letnik:
51, Številka:
1
Journal Article
Icelandic poets in the 16
and 17
century had great interest in formal features such as rhyme, kennings, and periphrasis.
poets made use of Eddic diction and imagery but the use of kennings was not ...limited to
; it can also be found in other kinds of poetry. Baroque delight in periphrasis and metrical complexity ensured a favorable reception for the renewed interest in
measure, with its aurally intriguing rhymes and complex kennings. The paper discusses the use of kennings and the connection between kennings, riddles and metaphors and also between kennings and Eddic and classical myths.
U franjevačkoj crkvi Presvetoga Trojstva u Karlovcu, u kapeli izvorno podignutoj 1748. godine – za koju su novac darovali Feldmarschall Joseph Maria Friedrich Wilhelm Hollandinus von ...Sachsen-Hildburghausen, Vice-Colonello Maximilian Josef barun Mittrowsky von Mitrowitz und Nemyschl i ilirski konjanici – prije nekoliko godina otkriveni su fragmenti zidnoga i svodnog oslika s ikonografijom sv. Ivana Nepomuka iz 1749. godine. Fragmenti u gornjem dijelu zidnog plašta i u kupoli omogućuju djelomičnu rekonstrukciju sadržaja, ali i prijedlog autorskog imena uz koje bi se oslik mogao vezati, Franca Jelovšeka, i to u razdoblju njegova stvaralačkog vrhunca. Čašćenje sv. Ivana Nepomuka nakon kanonizacije (1729.) – za koju su se osobito zalagali habsburški vladari – dio je skupine vjerskih praksi poznate prema sintagmi pietas Austriaca. Pristajanje uz nju iskaz je lojalnosti prema vladajućoj dinastiji, posebno važan u vrijeme ratova za austrijsko nasljeđe.
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