This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur various boundaries. Some of the boundaries are internal to the ...triptych format, for example, transgressed frames between narratives scenes on triptychs' interiors, or interconnections between imagery on triptychs' interiors and exteriors. Other blurred boundaries are regional ones between the Netherlands and Cologne; metaphysical ones between heaven and earth; and artistic distinctions between the media of painting and sculpture. The book's case studies, which shed new light on Conrad von Soest, Stefan Lochner, and the Master of the St Bartholomew Altarpiece, illuminate the importance of German fifteenth-century painting, while providing a fresh assessment of relations between German triptychs and their more famous Netherlandish counterparts' and demonstrating the value of probing Medialität , the implications of format and medium for generating meaning. The book's coda assesses the triptych in the age of Dürer.
Focusing on stunning paintings and engravings from around the world, 16 papers interrogate the driving forces behind global rock art research. Many of the motifs featured were created by indigenous ...hunter-gatherer groups; this book sheds new light on non-Western rituals and worldviews, many of which are threatened or on the point of extinction.
This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur various boundaries. Some of the boundaries are internal to the ...triptych format, for example, transgressed frames between narratives scenes on triptychs’ interiors, or interconnections between imagery on triptychs’ interiors and exteriors. Other blurred boundaries are regional ones between the Netherlands and Cologne; metaphysical ones between heaven and earth; and artistic distinctions between the media of painting and sculpture. The book’s case studies, which shed new light on Conrad von Soest, Stefan Lochner, and the Master of the St. Bartholomew Altarpiece, illuminate the importance of German fifteenth-century painting, while providing a fresh assessment of relations between German triptychs and their more famous Netherlandish counterparts—and demonstrating the value of probing Medialität, the implications of format and medium for generating meaning. The book’s coda assesses the triptych in the age of Dürer.
Baroque depictions of violence are often dismissed as ‘over the top’ and ‘excessive’. Their material richness and exciting visual complexity, together with the visceral engagement they demand from ...beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.
U-Series Dating of Paleolithic Art in 11 Caves in Spain Pike, A. W. G.; Hoffmann, D. L.; García-Diez, M. ...
Science (American Association for the Advancement of Science),
06/2012, Letnik:
336, Številka:
6087
Journal Article
Recenzirano
Paleolithic cave art is an exceptional archive of early human symbolic behavior, but because obtaining reliable dates has been difficult, its chronology is still poorly understood after more than a ...century of study. We present uranium-series disequilibrium dates of calcite deposits overlying or underlying art found in 11 caves, including the United Nations Educational, Scientific, and Cultural Organization (UNESCO) World Heritage sites of Altamira, El Castillo, and Tito Bustillo, Spain. The results demonstrate that the tradition of decorating caves extends back at least to the Early Aurignacian period, with minimum ages of 40.8 thousand years for a red disk, 37.3 thousand years for a hand stencil, and 35.6 thousand years for a claviform-like symbol. These minimum ages reveal either that cave art was a part of the cultural repertoire of the first anatomically modern humans in Europe or that perhaps Neandertals also engaged in painting caves.
