El presente artículo estudia el cortejo festivo de las mascaradasen el contexto urbano de la ciudad de Sevilla. Se indaga sobre losantecedentes de este espectáculo, sus características formales y su ...relacióncon otras fi estas y la comedia. Se analiza los contenidos y el papelde la alegoría mitológica para la unidad temática de cada manifestaciónfestiva. Por último, se refl exiona sobre la evolución de esta tipología festivay los aspectos dinámicos y confl ictivos de su desarrollo, en especiala lo largo del siglo xviii.
In a comparative and interdisciplinary analysis of modern and postmodern literature, film, art, and visual culture, Monika Kaup examines the twentieth century's recovery of the baroque within a ...hemispheric framework embracing North America, Latin America, and U.S. Latino/a culture. As "neobaroque" comes to the forefront of New World studies, attention to transcultural dynamics is overturning the traditional scholarship that confined the baroque to a specific period, class, and ideology in the seventeenth century. Reflecting on the rich, nonlinear genealogy of baroque expression,Neobaroque in the Americasenvisions the baroque as an anti-proprietary expression that brings together seemingly disparate writers and artists and contributes to the new studies in global modernity.
The painting "Christ and the woman of Samaria" by 17th-century painter Artemisia Gentileschi has been discovered in a private collection. It has been linked to the artist through her letters. ...Questions remain as to how this painting fits into her repertoire as an artist known for painting women. This is examined. Also noted is the painting's attempt to secure a commission and the reaons behind Gentileschi's financial needs.
This essay deals with the construction of national identity in Austria through museum presentations and exhibitions of Baroque art between 1900 and 1960. The approach understands museums and ...exhibitions as ‘media’ providing visual expression of a variety of narratives on national identities. Around 1900 the Baroque was presented as being a style ‘typical’ of Austria – a country whose multi-ethnic make-up meant that it lacked the characteristics of a classic modern nation. References to the ‘supranational’ Baroque were thus seen as an appropriate manner in which to construct ‘Austrianness’ as distinction from the the German Reich. Yet, after the 1914–1918 war, Baroque art began to be used to demonstrate the cultural unity of Austria with Germany. Again, after 1945, the grounding for the construction of an Austrian nation – one seemingly independent of Germany and of its Nazi past – once more took hold of historical references to the Baroque, which now served to demonstrate the country’s European orientation. Today, however, the recently rediscovered golden age of ‘Vienna 1900’ seems to have replaced the Baroque as a central reference in defining the Austrian identity.
Characteristic for all contributions to the Wiener Jahrbuch in 2010 is the presentation of latest research findings with the help of methodological refinements. Thus Assaf Pinkus suggests a new ...interdisciplinary approach for trecento painting, which brings the viewer's perceptions into an analysis of image creation. Milena Bartlová, on the other hand, addresses the little considered subject of the iconoclasm of Bohemian Hussites. An important finding is that Hussitism was unable to give up the image in its medieval function, since the printed book - which could have taken over the communicative qualities of the image - had not yet been invented. Giovan Battista Fidanza also deals with a little considered subject - namely Michelangelo as wood carver. He is able to demonstrate convincingly that Michelangelo applied prefabricated blocks of limewood in the assemblage of his wooden crucifixes. The four subsequent articles are dedicated to Baroque art. Eckhart Leuschner defines the Baroque allegory as a constant and internationally standardised deployment of formal and semantic possibilities. At the centre of Kristoffer Neville's contribution is an early version of Fischer von Erlach's Entwurff einer historischen Architectur, with the help of which the creative process of Fischer's main architectural-theoretical work is reconstructed. In the complicated memoria programme of the state sarcophagus finished for Franz Stephan and Maria Theresia in 1754 in the crypt of the Vienna Capuchin Church, Werner Telesko identifies both Antique and Christian strands of tradition. Werner Hofmann, meanwhile, recognises the 1711 endowment decree for Lothar Franz von Schönborn as an inofficial foundation source for Schloss Pommersfelden and traces a 'hypertext' within the decree, which represents the key for the building's iconography. The amateur drawings of the Habsburgs from the 19th century are comprehended by Kerstin Merkel as autonomous non-verbal sources and integrated with historical information. Iris Wien, by contrast, sets two self-portraits of Andy Wahrhol within his known oeuvre and convincingly suggests an interpretation as Medusa. In the last four contributions to the volume, the Memorabilia, important contemporary historical documents for the history of the Vienna School are published and made accessible. Alexandra Caruso edits the memoirs of Erica Tietze Conrat. The letters of Wilde, presented by Károly Kókai, provide insights into events within the circles of Vienna art history at that time. Evonne Levy publishes for the first time a selection of letters written by Hans Sedlmayr to Meyer Schapiro in the period 1930-35. Charles Hope succeeds in portraying in convincing complexity the scholarly range of Sir Ernst Gombrich.
Kennzeichnend für alle Beiträge des Wiener Jahrbuches 2010 ist die Präsentation neuester Forschungserkenntnisse mit Hilfe methodischer Raffinessen. So schlägt Assaf Pinkus einen interdisziplinären Zugang für die Trecento-Malerei vor, der Wahrnehmungen des Betrachters in die Analyse der Bilderfindung einbezieht. Milena Bartlová hingegen wendet sich der wenig beachteten Thematik des Bildersturms böhmischer Hussiten zu. Wichtig ist ihre Erkenntnis, dass der Hussitismus das Bild in seiner mittelalterlichen Funktion nicht aufgeben konnte, weil der Buchdruck noch nicht erfunden war, der die kommunikativen Eigenschaften des Bildes hätte übernehmen können. Auch Giovan Battista Fidanza beschäftigt sich mit einem wenig beachteten Thema - nämlich Michelangelo als Holzbildhauer. Er kann überzeugend nachweisen, dass Michelangelo für seine Holzkruzifixe in Assemblagetechnik vorgefertigte Blöcke aus Lindenholz verwendete. Die vier folgenden Themen sind der barocken Kunst gewidmet. Die barocke Allegorie definiert Eckhard Leuschner als konstantes und international vereinheitlichtes Dispositiv formaler und semantischer Möglichkeiten. In Kristoffer Nevilles Aufsatz steht eine frühe Version Fischer von Erlachs Entwurff einer historischen Architectur im Mittelpunkt, mit Hilfe derer der Entstehungsprozess von Fischers architekturtheoretischem Hauptwerk rekonstruiert wird. In dem komplizierten Memoria-Programm des 1754 gefertigten Prunksarkophags für Franz Stephan und Maria Theresia in der Wiener Kapuzinergruft kann Werner Telesko die beiden Traditionsstränge Antike und Christentum auffinden. Indes erkennt Werner Hofmann das Dotationsdekret von 1711 für Lothar Franz von Schönborn als inoffizielle Gründungsurkunde des Schlosses Pommersfelden und spürt in dem Dekret einen "Hypertext" auf, der der Schlüssel für die Ikonographie des Gebäudes ist. Die Laienzeichnungen der Habsburger aus dem 19. Jahrhundert begreift Kerstin Merkel als eigenständige, nonverbale Quellen und vernetzt diese mit historischen Informationen. Iris Wien dagegen verortet zwei Selbstbildnisse Andy Wahrhols in seinem bisherigen Oeuvre und schlägt eine stichhaltige Interpretation als Medusa vor. In den vier letzten Beiträgen dieses Bandes, den Memorabilia, werden wichtige zeitgeschichtliche Dokumente für die Geschichte der Wiener Schule publiziert und lesbar gemacht. Alexandra Caruso gibt Erinnerungen Erica Tietze Conrats heraus. Die von Károly Kókai bearbeiteten Briefe Wildes ermöglichen Einblicke in die Ereignisse innerhalb der Kreise der damaligen Wiener Kunstgeschichte. Evonne Levy publiziert zum ersten Mal eine Auswahl an Briefen, die Hans Sedlmayr an Meyer Schapiro in der Zeit von 1930-1935 sendet. Charles Hope gelingt es, die wissenschaftliche Vielfältigkeit Sir Ernst Gombrichs in einer bestechenden Komplexität darzustellen.
Riegl on the Baroque Ute Engel
Journal of art historiography,
12/2012, Letnik:
7
Journal Article
Odprti dostop
Alois Riegl´s Die Entstehung der Barockkunst in Rom, published posthumously by Arthur Burda and Max Max Dvořák in 1908, is the last of Riegl´s major works, which was translated into English. This was ...achieved by Andrew Hopkins and Arnold Witte in a volume of the Getty Research Institute Publications Program in 2010. The volume also includes three introductory essays by the editors themselves and Alina Payne on Riegl´s notions on the Baroque, its position in historiography and the editorial history of the original book, and it is added by a detailed bibliography of Riegl´s publications and the wide-ranging secondary literature as well as a useful glossary of the German terms essential to Riegl´s theory of art history and their explanation in English.
Este trabajo estudia la importancia que tuvo el Concilio de Trento en el arte sevillano de los siglosXVII y XVIII, y concretamente en una de sus obras más representativas, el Trono de Octavas de la ...Catedral de Sevilla, a partir de una lectura histórica, iconográfica y simbólica del mismo.
Through an iconographic, historical and symbolic study the Trono de Octavas of Seville Cathedral, one of the most representative works of art of the city, this paper analyzes the importance of the Council of Trento in Seville ́s 17th and 18th century art.
The authors analyze the network of Hispanic baroque paintings from 1550 to 1850. They divide the dataset of 11,443 works from Spain and Latin America into 25-year periods in order to study the ...evolution of the paintings' 211 descriptors. The analysis shows that most of the paintings are linked through genre and theme and that religious Christian themes make up the overwhelming majority of connections among the paintings.
Fans, 1715-1785 Werlin, Katy
Clothing and Fashion : American Fashion from Head to Toe: Pre-colonial Times through the American Revolution,
2016
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