Rui Wang Wang, R
Angewandte Chemie (International ed.),
02/2016, Letnik:
55, Številka:
8
Journal Article
Recenzirano
“My favorite composer is Ludwig van Beethoven. My favorite painter is Qi Baishi (a famous Chinese painter) ...” This and more about Rui Wang can be found on page 2632.
Revolutionary Paris and the Market for Netherlandish Art restores attention to the aesthetic, intellectual, and economic link between two key periods in the history of art: the "Golden Age" of Dutch ...and Flemish painting and that of the French Revolution.
The front cover artwork is provided by the groups of Tony Harriman (Newcastle University) and Raymond Ziessel (ECPM‐Strasbourg). The image shows the processes following illumination of an artificial ...light harvester that slowly fades under continuous exposure to white light. Read the full text of the article at 10.1002/cphc.201500150.
“We set out to explore the longevity of our artificial photon concentrators under continuous illumination…︁‥” This and more about the story behind the front cover research can be found at 10.1002/cphc.201500150.
As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the ...growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew’s in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.
This essay interprets and analyses the painting called “Dioscoridesdescribing the mandrake”, which is currently located in apermanent exhibition at Wellcome Collection in London, UK.The painting ...features Pedanius Dioscorides, a Greek botanistand pharmacologist who practiced in the Roman Empire duringthe rule of Nero. Dioscorides is known for his influential DeMateria Medica, a five-volume book on medicinal uses of variousplants and herbs. What makes this script special and influentialis that it included a vast amount of herbs, detailed descriptions,scientific observations, as well as a scientific classification andorder. Upon reflection on this piece of art, I am reminded of themedical realm that we are gradually becoming a part of as medicalstudents. There is immense passion, knowledge and intelligencein how medicine became modern medicine today. For me, thepainting on Dioscorides’ De Materia Medica is a compelling visualrepresentation of centuries – long endeavor.
Sovietų režimo įsigalėjimas Barnaule siejamas su ortodoksų bažnyčią ištikusiais targiškais įvykiais: cerkvių uždarymu, bausmėmis šventikams, kurie nepripažino “bedievės valdžios”, bažnytinio turto ...konfiskavimu, religinio lavinimo vaikams draudimu ir ortodoksų tikėjimo skelbimu38. Šių istorinių įvykių kontekste Pokrovo katedos freskų tapyba suteikia progą susimąstyti apie vizualuoju freskų naratyvo bei į jas įtapytas prasmes: ar šios freskos tėra standartinis plačiai išplitusių pavyzdžių aptinkamų sostinėje ir rekomenduojamų Šventojo Sinodo kopijų rinkinys, parinktų cerkvės vyresniojo šventiko ir Sibiro menininkų mechaniškai transformuotų ant provincijos cerkvės sienų. O gal jos atskleidžia originalią freskų dėlionės programą nors ir sietiną su nusistovėjusiu ikonografiniu kanonu ir jo atvaizdais, bet atkurtų siekiant tam tikro tikslo, kuris koduotu naratyvu, suprantamu tik tikinčiąjam iš “atpažįstamų” pavyzdžių ir pasakojamųjų epizodų atskleidžia nepakartojamą vientisą dvasinę erdvę, “sąmonės atspindį”, jautriai parodydamas vidinį individo pasaulį (žmogaus abejones, baimes, viltis), aktualizuojant jį per Dieviškosios galios ženklus - per žmogaus kančių analogiją su Dievo Sūnaus kančia. Šio tyrimo tikslas ištirti freskų prasmių turinį ir freskų prasminių sąsajų sistemą– jų ryšį su archtektūrine crekvės erdve. Tačiau tyrimas, visų pirma, nukreiptas į tapybos projekto prasmes. Menininkų tapybos kritikuoti neketinama, nes po daugybės atnaujinimo ir restauravimo darbų sunku atsekti autentišką tekstūrą.
Este escrito reflexiona una serie de pinturas realizadas para una exposición en Junio del 2016 en Barcelona. La serie se tituló “Cartografías del rostro” y estaba compuesta por once pinturas que ...entrecruzaban los rostros de la artista con otras mujeres. Además, sobre cada pintura yacía una cartografía que realizaba la artista con la mujer retratada, donde ambas mapeaban sus vínculos sobre el retrato para nombrar sus realidades simbólicas. A partir de estas obras, la autora hace un recorrido donde explica cómo se originó la serie, qué experiencias y referentes la llevan a tomar elementos de la cartografía y del feminismo para realizar estas creaciones. A través de este trabajo se habla de una práctica artística que busca la mediación, ya que pone en el centro la relación con otras mujeres, para visibilizar las relaciones entre ellas como prácticas políticas que se mueven en el ámbito de las artes. Se reflexiona sobre cómo las nuevas imágenes que se crean en las prácticas artísticas feministas pueden cuestionan las ideas tradicionales del retrato y, así también, el sentido de vivirse como mujeres.
This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part ...of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised. Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women’s lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women’s active role in the imaging process and the early instances of a pro-women ideology.
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