A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca

2011 ◽  
Vol 124 (2-3) ◽  
pp. 119-140
Author(s):  
Erna Kok
Keyword(s):  
Art Market ◽  
Current Image ◽  
Biblical Story ◽  
History Of ◽  
Original Painting ◽  
Clear Idea ◽  
Canaanite Woman ◽  
The Erotic

AbstractJacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story. In this article I propose that the painting is a portrait historié of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638. The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission. The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historié of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.

scholarly journals The Artworks of Boris Grigoriev (1886–1939) at Sotheby’s and Christie’s Auctions in the 1980s–2010s

2020 ◽  
Author(s):  
Tamara Galeeva ◽  
Larissa Yakimova
Keyword(s):  
Economic Value ◽  
Art Market ◽  
Historical Research ◽  
Russian Art ◽  
Western Art ◽  
Auction Houses ◽  
History Of ◽  
Original Painting

This article discusses the introduction of artworks by a Russian émigré artist, Boris Grigoriev, to the Western art market during the 1980s–2010s, using the examples of Russian art sales at Sotheby’s and Christie’s auction houses. The history of Grigoriev’s artwork sales at the major auctions, peaks and slumps of interest in them, together with the stylistic preferences of buyers and other factors, are addressed less as market phenomena and more as a result of art historical research, expert appraisal of the artist’s practice, and, at the same time, as a basis for further investigations contributing not only to economic value, but also to a symbolic component. Keywords: Boris Grigoriev, Russian art, art market, expert appraisal, auction sales, original painting, forged artworks

scholarly journals ARCHAEOLOGY ABOUT THE 17th CENTURY PALACE IN KOLOMENSKOYE: OVERVIEW OF DATA SOURCES

2020 ◽  
Author(s):  
Л.А. Беляев ◽  
С.И. Баранова
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
Data Sources ◽  
Subsequent Period ◽  
The Future ◽  
Archaeological Materials ◽  
History Of ◽  
Future Task ◽  
Clear Idea

Задача статьи – понять, где, сколько и каких сохранилось археологических материалов по истории наиболее известного из гражданских дворцовых соо­ружений, срубленных из дерева, – дворца в Коломенском. Дворец использовался как летняя государственная резиденция в основном царем Алексеем Михайловичем и его сыновьями, Федором и Петром I (в юности), а позже эпизодически правительницами России XVIII в. После разборки в 1760-х гг. от него сохранились описания, обмеры и даже модели. За столетие (с 1920-х гг.) остатки усадьбы не раз исследовались археологически, материалы фиксации отложились в ряде архивов и музеев, в основном московских. На будущее ставится задача свести эти материалы воедино и заново проанализировать их вместе с другими видами источников. The paper is aimed at shaping a clear idea on what, where, and how much of archaeological materials on the history of the Kolomenskoye Palace, which is the most famous civil palace construction made from logs, has been preserved. The palace was used as a summer state residence, mostly, by tsar Aleksey Mikhailovich and his sons – Fyodor and Peter I (in his childhood), and in the subsequent period in the 18th century from time to time by female rulers of Russia. In the 1760s the palace was dismantled; its descriptions, measurements and even models were preserved. Over a hundred years (since the 1920s), the remains of this estate have been repeatedly excavated, and the records have been stored in a number of archives and museums, mostly, in Moscow. The future task is to consolidate these materials and analyze them along with other types of sources.

scholarly journals Excerpts from Land Separation Books as Title Deeds for Hereditary Estates, Fisheries and Meadows: The 17th Century Materials from the Tikhvin Assumption Monastery Archive

2021 ◽  
pp. 675-686
Author(s):  
Olga A. Abelentseva ◽  
Keyword(s):  
17Th Century ◽  
Legal Proceedings ◽  
Local Official ◽  
Land Disputes ◽  
Archival Documents ◽  
History Of ◽  
Clear Idea ◽  
To Receive

During the 17th century, the archives of the Tikhvin Assumption Monastery accumulated documents testifying to the monastery’s acquisition of rights to votchinas (hereditary landed estate) and ugodia (collective name for fisheries, meadows, etc.). Among these documents there are excerpts from land separation books (otvodnye knigi). In order to determine the significance of such excerpts as title deeds, the article examines situations requiring their receipt, and sequence of actions of the patrimonials and authorities. It is generally accepted that grant deeds were basic document confirming monasteries’ rights to votchinas and ugodia. The Tikhvin Assumption Monastery received its last grant deed in 1621. However, in the following years, the Monastery was granted new votchinas and ugodia, which also required title perfection. And yet thereafter all grants were issued without drafting grant deeds. The article considers four situations that demanded separation of land: proving rights to old landholdings; acquiring new votchinas on the basis of grant deeds; proving rights to ugodia recorded in census records, but not in grant deeds; acquiring new votchinas and ugodia on the basis of decree without grant deed. The study of the archival documents has made it possible to reveal how rights to votchinas and ugodia were established in the 17th century without issuance of grant deeds. First, the monastic authorities filed a petition in Moscow and received a decree ordering the authorities of Veliky Novgorod to separate the land. Upon receiving such order from Novgorod, a local official performed separation of land according to an excerpt from cadastral register and compiled a land separation book. In order obtain an excerpt from the land separation book, the procedure was to be repeated. In the case of disputes or legal proceedings with outside parties – landholders (pomeshchiki) or court peasants (dvortsovye) – a new land separation book for the successful party was to be drawn. Sometimes several years could pass between land separation and obtaining an excerpt from the land separation book. The monastic authorities did not seek to receive it immediately and, probably, did not have a clear idea of the need for such an action. The available data allows the author to conclude that excerpts from land separation books may have been main document proving ownership of votchinas and ugodia, but were usually obtained in case of land disputes. However, to decide a case, other documents reflecting the history of the grant were required: excerpts from cadastral registers and survey books, originals or copies of decrees, and command letters.

The Artist as Reader of the Bible. Visual Exegesis and the Adoration of the Magi

2005 ◽  
Vol 13 (4) ◽  
pp. 337-373 ◽  
Author(s):  
Martin O'Kane
Keyword(s):  
Subject Matter ◽  
Biblical Narrative ◽  
Biblical Story ◽  
Image Viewer ◽  
The Bible ◽  
History Of ◽  
Entire History ◽  
Visual Exegesis ◽  
Textual Meaning

AbstractThe article explores the processes at work in a painting's engagement of its viewer in biblical subject matter. It accentuates the role of the artist as an active reader of the Bible and not merely an illustrator of biblical scenes, the dynamic that occurs in the text-reader process as paradigmatic for the image-viewer relationship and the important role of the developing tradition that felt the need to change or rewrite the biblical story. The processes are explored in terms of hermeneutics and exegesis: hermeneutics defined as 'the interweaving of language and life within the horizon of the text and within the horizons of traditions and the modern reader' (Gadamer) and exegesis as 'the dialectic between textual meaning and the reader's existence' (Berdini). Applied to the visualization of biblical subject matter, the approaches of Gadamer and Berdini illumine the key role given to the viewer in the visual hermeneutical process. The biblical story of the adoration of the Magi (Matt. 2: 1-12), the first public and universal seeing of Christ and one of the most frequently depicted themes in the entire history of biblical art, is used to illustrate their approach. The emphasis in the biblical narrative on revealing the Christ child to the reader parallels a key concept in Gadamer's hermeneutical aesthetics, namely Darstellung, the way in which a painting facilitates its subject matter in coming forth, in becoming an existential event in the life of the viewer.

Masochistic Nationalism and the Basque Imaginary

2017 ◽  
Author(s):  
Rob Stone
Keyword(s):  
Case Studies ◽  
State Of Emergency ◽  
Feature Films ◽  
History Of ◽  
Explicit Content ◽  
The Erotic

This chapter investigates the curious absence of erotic content in Basque cinema (Julio Medem’s feature films are the obvious exception), an absence that, the author argues, extends well into the democratic period and therefore cannot be blamed on censorship or catholic repression. This research shows that the explicit content of Basque films often revolves around contexts of torture, revealing a certain fascination with masochist narratives that could be suggestive of nationalist martyrdom. This is explored in his Deleuzian analysis of his two main case studies, Estado de excepción/State of Emergency (dir. Iñaki Núñez, 1977) and Akelarre/Witches’ Sabbath (dir. Pedro Olea, 1984), and of a segment of Medem’s documentary La pelota vasca: la piel contra la piedra/The Basque Ball: Skin Against Stone (2003) among many other examples throughout the history of Basque cinema. This noticeable absence of erotic narratives could be part of a revolutionary intent to distance Basque cinema both from the erotic narratives of the Barcelona School and from the destape films associated with Madrid, but also a nationalist commitment to sacrifice individualistic desires and pleasures at the service of more collective aims.

Binding the Void: The Erotics of Place in Antony and Cleopatra

2020 ◽  
pp. 136-168
Author(s):  
Gillian Knoll
Keyword(s):  
Early Modern ◽  
Antony And Cleopatra ◽  
Place And Space ◽  
Infinite Space ◽  
Temporal Features ◽  
History Of ◽  
Giordano Bruno ◽  
History Of Place ◽  
Vacant Space ◽  
The Erotic

Chapter 4 analyses the erotics of bounded place and of limitless space in Antony and Cleopatra. The chapter begins by exploring Edward Casey’s philosophical history of place and space in order to consider the erotic implications of these two scenes for characters as well as for audiences. Images of bounded place in Antony and Cleopatra get their erotic charge from the language of sexual bondage, more specifically, the formal and temporal features of masochism. Chapter 4 then explores accounts of infinite space from early modern cosmologists such as Francesco Patrizi and Giordano Bruno, who theorized about the void. This chapter argues that Antony and Cleopatra eroticize the infinite void by imposing the sturdy boundaries of place onto vacant space. Binding the void allows the lovers to present this vacancy to one another, enabling pleasurable experiences of self-loss and self-forgetting.

The Oriental Monk in American Popular Culture

2017 ◽  
Author(s):  
Jane Naomi Iwamura
Keyword(s):  
United States ◽  
Popular Culture ◽  
Tibetan Buddhism ◽  
The United States ◽  
Current Image ◽  
Dalai Lama ◽  
American Popular Culture ◽  
Asian Religions ◽  
History Of

This chapter analyzes the history of representation that has contributed to the current image of the Dalai Lama. We “know” the Dalai Lama, not simply because of the fact that we may understand his views and admire his actions, but also because we are familiar with the particular role he plays in the popular consciousness of the United States—the type of icon he has become—the icon of the “Oriental Monk.” To get a sense of what makes the Dalai Lama so popular, we need to get a sense of the history of this icon and how it has been used to express and manage our sense of Asian religions. The chapter asks: How did the Dalai Lama come to represent all that he does for Americans? Indeed, what exactly does he represent? How have we come to “know” him? Is our ability to embrace someone and something (Tibetan Buddhism) once considered so foreign, anything other than a testimony to a newfound openness and progressive understanding?

Erotic Spectacle

2015 ◽  
pp. 107-126
Author(s):  
Omar Ahmed
Keyword(s):  
Indian Cinema ◽  
Film Maker ◽  
Production History ◽  
Long Time ◽  
History Of ◽  
Critical Perspectives ◽  
The Erotic

This chapter focuses on the courtesan film in Indian cinema. The courtesan film has been popular with audiences for a long time but today it is rare to see a mainstream Indian film choosing to use the figure of the courtesan to address the concerns of women in society. An extension of the Muslim Social, the courtesan film reached its creative epoch in the 1970s, exhausting genre possibilities with the erotic spectacle Pakeezah (Pure of Heart, 1972). A complicated production, film-maker Kamal Amrohi took fourteen years to complete Pakeezah. Unfortunately for Indian cinema's tragedy queen, Meena Kumari, who starred in the film, alcoholism cut short her life, and she never got to see what many consider to be her most accomplished work. The chapter analyses Pakeezah from a range of critical perspectives, including the conventions, origins, and history of the courtesan film; the production history and struggle to finish the film; representations of the courtesan related to sexuality and eroticism; an analysis of the song and dance sequences and their relationship to ideology; and the demise of the courtesan film in the contemporary era.

The Study of Emotions in Early Jewish Texts: Review and Perspectives

2019 ◽  
Vol 50 (4-5) ◽  
pp. 557-603 ◽  
Author(s):  
Françoise Mirguet
Keyword(s):  
Culturally Sensitive ◽  
The Self ◽  
Biblical Story ◽  
Construction Of Identity ◽  
Early Judaism ◽  
Brief Assessment ◽  
History Of

AbstractThis article reviews recent research on emotions in the field of early Judaism, mostly in literature. The article starts with an example from the biblical story of Joseph, to illustrate the need for a culturally sensitive understanding of emotions. Various approaches to emotions are then examined: philology and the history of the self, the construction of identity, structures of power (including gender), experiences with the divine, and emotions as adaptive practices. Each section starts with a brief outline of the scholarship conducted in other fields and serving as a background for research on early Judaism. The conclusion considers several facets of emotions, as they are highlighted by various disciplines; cultural manipulations of emotions often harness the tensions that may result from these multiple facets. The article closes with a brief assessment of the contribution of emotion research to the broader study of early Judaism and with perspectives for further research.

Introduction to Felipe Ehrenberg's “In Search of a Model for Life”

ARTMargins ◽  
2012 ◽  
Vol 1 (1) ◽  
pp. 120-124
Author(s):  
Karen Benezra
Keyword(s):  
Mexico City ◽  
Experimental Work ◽  
Art Market ◽  
Art Practice ◽  
Experimental Art ◽  
History Of ◽  
State And Market ◽  
Role Based ◽  
The Individual ◽  
Los Grupos

“In Search of a Model for Life” traces a brief history of the autonomous, experimental art movement known as los Grupos (the Groups) in which the essay’s author, Felipe Ehrenberg, played a central role. Based mostly in Mexico City in the late 1970s, the Groups critiqued the predominant academicism as well as the burgeoning support for commercially viable experimental work in Mexico’s state-run art institutions. “In Search of a Model for Life” first appeared as one of three external appendices to the catalog for the Museo de Arte Carrillo Gil’s 1985 retrospective of the Groups, De los Grupos los individuos (From the Groups, Individuals). Ehrenberg’s essay challenges the teleological narrative that the catalog’s text traces, from a collective movement of rebellion to the individual insertion of the movement’s members into the art market. In doing so, “In Search of a Model for Life” begins to theorize the conditions for a critical and emancipatory art practice beyond the complicity of state and market.

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