•An exploration of the craft of visual accounts through an arts-inspired perspective.•Mixed emotions underpin visual accounts and are linked to power struggles.•Baroque art illuminates the fear and ...illusion of the preparers of visual artefacts.•Visual accounts are shaped following the unease and discomfort of their preparers.
This paper explores the craft of visual accounts in corporate reporting practices through an arts-inspired perspective. We research the subtle mechanisms underpinning the craft of visual accounts since their preparation phase, as these accounts engage with the emotional sphere of their preparers, including the fear and the power struggles surrounding the preparers’ role within the organization. We rely upon an artistic line of inquiry based on baroque art to unpack the voids and absences underpinning accounting visualizations. By drawing on this lens, we examine the case of a large European bank where we investigate the craft of visual accounts in corporate reports from the perspective of the preparers of these accounts. We extend prior studies on the visual and emotional dimensions of accounting by showing that the craft of visual accounts evolves as the preparers of these accounts experience voids in the meanings that they attempt to represent and the fear of being excluded from their role. We also demonstrate that the mixed emotions of fear and self-celebration, illusion and disillusion experienced by the preparers of accounting visualizations may follow intra-organizational power struggles in between the different organizational roles involved in corporate reporting. In so doing, we reveal how the philosophical underpinnings of artistic movements, such as baroque art, can be drawn upon to critically delve into the power of voids and absences in accounting visualizations.
Autor artykułu rozważa perspektywy badania nowożytnej sztuki polskiej pod kątem jej stosunku do zjawiska zwanego „sarmatyzmem”. Wskazuje na brak jasnej definicji tego pojęcia i jego nikłą użyteczność ...badawczą, podobnie jak sformułowania „sztuka sarmacka”, dla której wyodrębnienia brak właściwych kryteriów. Istnieją jednak w obszarze polskiej sztuki nowożytnej dzieła i zjawiska artystyczne szczególnie związane z kulturową odrębnością dawnej Rzeczypospolitej. W przekonaniu autora to właśnie jest właściwa ars sarmatica – „sztuka sarmacka”. Następuje krótkie wskazanie kilku przykładowych dzieł sztuki, które do tego zbioru można zakwalifikować. Są to m.in: nekropolia rodu Czarnkowskich w czarnkowskiej farze, program ikonograficzny dziedzińca zamku Krzyżtopór w Ujeździe, malowidło tzw. „Hołdu carów moskiewskich” z połowy XVII wieku (pochodzące z nieznanej magnackiej rezydencji na południowo-wschodnich kresach Rzeczypospolitej), powstały w tym samym czasie polski wariant ikonografcznego typu rex armatus, wyobrażenie elekcji króla Stanisława Augusta pędzla Bernarda Bellotta (z Zamku Królewskiego w Warszawie), na koniec rysunki Jana Piotra Norblina ukazujące polskie sejmiki.
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.
Der berühmte Narziss des Caravaggio hält seit seiner Entdeckung die Kunstwelt in Atem und viele Fragen offen: Worin liegt seine paradigmatische Stellung als »Inbegriff des Narziss« begründet? Warum ...wird in ihm überhaupt Narziss erkannt, obwohl viele narrative Stränge des Mythos fehlen? Und wie kommt es in der wissenschaftlichen Rezeption zu der auffällig kontrapunktischen Interpretation des Bildes? Johanna Hodde nähert sich diesen Fragen empirisch durch eine tiefenpsychologische Exploration des Erlebensprozesses während der Bildbetrachtung sowie einer anschließenden Bildreflexion im Lichte einschlägiger Bild- und Subjekttheorien.
Juan de Herrados es un escultor poco conocido, establecido en la collación de Triana, en un medio próspero, donde se asentaron muchos de quienes se vincularon de un modo u otro a la flota de Indias, ...y, además, tuvieron taller numerosos artistas.
Abstract
This article contextualizes the emblematic decoration of the main staircase at the Jesuit College in Győr, northwestern Hungary. Painted in 1697, this fresco cycle visualizes the prayer of ...Salve Regina. The staircase emblems were designed as a visual aid to the Jesuits who wished to meditate on the significance of the Virgin Mary. Earlier scholarship has connected the decorative scheme to Jesuit emblem literature in general. In this article, I argue that the visual source of the program can be identified as the Salve Regina print series by Anton Wierix (1598). The emblems and their program, key examples of applied emblematics, demonstrate how and to what degree Jesuit meditative praxis underlay the decoration of Győr college. Focusing on the practical function of the decorative program also expands our knowledge of early modern practices of emblematic meditation in religious communities. This article is part of the special issue of the Journal of Jesuit Studies on Jesuit emblems and emblematic edited by Walter S. Melion.
La historiografía del arte aragonés que se había referido a Felipe Busiñac y Borbón, uno de los profesionales de la arquitectura más importantes en el Aragón del Seiscientos, había situado su ...trayectoria laboral en Borja y en Zaragoza. Sin embargo, tanto la revisión de estudios ya publicados, como el hallazgo de noticias documentales inéditas lo sitúan involucrado en dos proyectos en la provincia de Teruel, en el convento del Carmen de Rubielos de Mora y en la iglesia parroquial de Mosqueruela, dos ejemplos que permiten comprender la evolución de la arquitectura religiosa de Busiñac.
The principal aim of the in situ X‐ray fluorescence (XRF) analysis on the canvas “The Coronation of the Virgin” was to characterise the colour palette of Carlo Bononi (Ferrara, 1580–1632), a ...lesser‐known artist of the early Baroque period in Ferrara. More than 100 points were collected by means of an XRF spectrometer, but the presence of many overlapping painted layers left some doubts about the preparation and the background layers. The scanning electron microscopy with energy dispersive spectrometer analysis on two samples resolved some of these doubts. The results obtained indicate the use of typical 17th century pigments, such as lead white, vermilion, azurite and a copper‐based green. For yellow pigments, the artist used the yellow ochre in some cases, while in others he used lead‐tin yellow. We also individuated at least three different shades of umber. Almost all the pigments have been identified and they are the first step in establishing the technical apparatus necessary to understand the modus operandi of the Ferrarese artist.
Der berühmte Narziss des Caravaggio hält seit seiner Entdeckung die Kunstwelt in Atem und viele Fragen offen: Worin liegt seine paradigmatische Stellung als »Inbegriff des Narziss« begründet? Warum ...wird in ihm überhaupt Narziss erkannt, obwohl viele narrative Stränge des Mythos fehlen? Und wie kommt es in der wissenschaftlichen Rezeption zu der auffällig kontrapunktischen Interpretation des Bildes? Johanna Hodde nähert sich diesen Fragen empirisch durch eine tiefenpsychologische Exploration des Erlebensprozesses während der Bildbetrachtung sowie einer anschließenden Bildreflexion im Lichte einschlägiger Bild- und Subjekttheorien.
One of the major traits of Baroque art in Bohemia and Moravia is its receptive character. In the cycles thematically taken from Ovid’s Metamorphoses artists often accurately followed widespread and ...popular illustrations. My paper focuses on rare example of reception of Metamorphoses edition published by J. J. von Sandrart in Nürnberg 1698. This edition includes several engravings depicting less frequently visualized stories that were followed in stucco decorations in the Silesian chauteau in Kravaře, irrecoverably damaged during a fire in 1937. The discovery of printed model allowed for the identification of all the iconographic motifs in Kravaře. The ceiling of the grand hall showed story about the prophet Tiresias. The article analyses visual representations of Judgement of Tiresias as well as its textual interpretations. The stucco ceiling in Kravaře was the only known monumental visual representation of this motif not only in the Central European context, but most probably in all Europe.
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