Painted by nature, printed by artists

2022 ◽  
Vol 71 (1) ◽  
pp. 276-312
Author(s):  
V.E. Mandrij
Keyword(s):  
Natural History ◽  
17Th Century ◽  
Similar Technique ◽  
Human Relationships ◽  
Works Of Art ◽  
Dutch Painter ◽  
Combine Medium

This article brings the 17th-century Dutch painter Otto Marseus van Schrieck and the contemporary German artist Maximilian Prüfer into dialogue. It investigates in particular Marseus’ and Prüfer’s use of butterfly scales as materials and motifs in their works of art. Both artists developed a similar technique of butterfly imprints (lepidochromy), which consists of transferring the scales of real butterflies onto another surface. The imprints thus combine medium with representation and the object being represented. The artists used a variety of animal substances to make their artworks, some still visible, some not, and gathered living animals to depict after life or to work with in other ways. Knowledge of and interest in natural history inform the work of both artists but their reflections on human relationships with other animals and with ‘nature’ differ.

scholarly journals Dzieło M.B. Valentiniego Museum museorum i inne publikacje muzeograficzne z gdańskich księgozbiorów oraz ich znaczenie w kształtowaniu zbiorów przyrodniczych i artystycznych w XVII i XVIII wieku

2021 ◽  
Vol 27 ◽  
pp. 131-167
Author(s):  
Antoni Romuald Chodyński
Keyword(s):  
Natural History ◽  
New World ◽  
17Th Century ◽  
Previous Knowledge ◽  
Frankfurt Am Main ◽  
Surrounding World ◽  
Works Of Art ◽  
The Alps ◽  
Research Objects ◽  
Clear Increase

The work of M.B. Valentini “Museum museorum” and other museographical publications from the Gdańsk book collections and their significance in the formation of the natural history collections in the 17th and 18th centuries After 1700 we observe a clear increase in the number of conscious collectors gathering works of art, naturalia and various curiosities – mirabilia, typical of many Baroque “chambers” (Kammer) that were created by collectors during the previous, 17th century. Michael Bernhard Valentini (1657–1729), court physician at the court of the Landgrave of Hessen, published a compendium of encyclopaedic knowledge, a work for academic collectors of natural history specimens, entitled Museum museorum (Vol. I–II, Frankfurt am Main 1704–1714). Valentini provided information about various noteworthy things found in the Old and New World as well as in Asia (India), sometimes exceeding the limits of previous knowledge, both for researchers and collectors. Valentini’s work may be seen as evidence of a real collector’s fever, directed not only at all kinds of rare and curious things (curiosities) but also research objects collected for study purposes, especially in countries north of the Alps (e.g. natural amber and amber with insect inclusions). This German author recommended in his proposed programme for the creation of an ideal modern museum that objects should be arranged into groups, for example naturalia and artificialia and then divided into more detailed subgroups in order to make them more visible and their content more comprehensible, therefore enriching the knowledge of the surrounding world.

The Abbots Bromley Horn Dance

Antiquity ◽  
1933 ◽  
Vol 7 (26) ◽  
pp. 203-209
Author(s):  
Violet Alford
Keyword(s):  
Natural History ◽  
Field Work ◽  
17Th Century ◽  
The Poor ◽  
Bow And Arrow ◽  
History Of ◽  
The Town ◽  
The Church

Few people know of this, possibly the most primitive dance in Europe. We find scanty records therefore, the earliest dating only from the 17th century. Robert Plot, in his Natural History of Staffordshire, 1686, p. 434, says:–At Abbots, or now rather Pagets Bromley, they had also within memory, a sort of sport, which they celebrated at Christmas (on New-Year and Twelft-day) call'd the Hobby-horse dance, from a person that carryed the image of a horse between his leggs, made of thin boards, and in his hand a bow and arrow, which passing through a hole in the bow, and stopping upon a sholder it had in it, he made a snapping noise as he drew it to and fro, keeping time with the Musick: with this Man danced 6 others, carrying on their shoulders as many Rain deers heads, 3 of them painted white, and 3 red, with the Armes of the cheif families (viz.) of Paget, Bagot, and Wells) to whom the revenews of the Town cheifly belonged, depicted on the palms of them, with which they danced the Hays, and other Country dances. To this Hobbyhorse dance there also belong'd a pot, which was kept by turnes, by 4 or 5 of the cheif of the Town, whom they call'd Reeves, who provided Cakes and Ale to put in this pot; all people who had any kindness for the good intent of the Institution of the sport, giving pence a piece for themselves and families; and so forraigners too, that came to see it: with which Mony (the charge of the Cakes and Ale being defrayed) they not only repaired their Church but kept their poore too: which charges are not now perhaps so cheerfully boarn.Why Plot says ‘within memory’ it is difficult to understand, unless there was a temporary cessation of the rite. He might easily have learnt whether the sport still lived or no, but from this and various internal points I suspect the Doctor never went to see for himself. Like too great a number of folklorists he preferred keeping his nose in a book to embarking on ‘field work’. The pot into which they put the feast has now disappeared, and so far from repairing the church and keeping the poor, the few shillings gained hardly pay the dancers for the loss of a day's work.

“GARDENERS” OF THE DYNASTIC TREES OF RUSSIAN PRINCES AND TSARS. ABOUT VARIATIONS OF ONE MICRO-PLOT IN THE EAST SLAVIC ART OF THE 17TH CENTURY

2021 ◽  
pp. 97-109
Author(s):  
Liudmila B. Sukina ◽  
Keyword(s):  
17Th Century ◽  
Body Language ◽  
General Idea ◽  
Christian Faith ◽  
Family Tree ◽  
Works Of Art ◽  
Russian State ◽  
The Family ◽  
General Similarity ◽  
The One

In the East Slavic art of the 17th century images of the trees of the spiritual genealogy of Russian princes and tsars became widespread. Such compositions were present in book engraving, icon painting and fresco. Despite the general similarity, they differ in sets of images and micro-plots. The differences are due to the specific intent of each of the works. The article examines the micro-plot of the “planting” of the family tree as the most sapid and with its own variations. It’s included in the iconographic composition of five works of art from the second half of the 17th – early 18th centuries. In the paper, special attention is paid to the peculiarities of the depiction of the “gardeners” of the dynastic trees (Princess Olga, Prince Vladimir, Prince Ivan Kalita and Metropolitan Peter) and some other characters, as well as their attributes. With all the diversity of the personifications of “gardeners”, “body language” and symbols used by artists, iconographic solutions in each case worked for the one general idea. The czar dynasties of the Russian state were presented as clans founded by “right” rulers who gave their subjects state establishment and order, and also “enlightened” them with the Christian faith.

Introduction

2020 ◽  
pp. 1-3
Author(s):  
Karen Polinger Foster
Keyword(s):  
Natural History ◽  
Essential Elements ◽  
Public Access ◽  
Time And Space ◽  
Human Relationships ◽  
Disciplinary Boundaries ◽  
Science And Art ◽  
New Directions ◽  
Western Scholarship

This introductory chapter presents two new directions in Western scholarship that coincide with the study of human relationships with flora and fauna in gardens and zoos. The first grew out of increasing interest in natural history in its broadest sense, with investigation into such topics as the intersection of science and art, and the societal and personal motivations behind the collection of specimens, living and not. Historians of botanical and zoological gardens, for their part, were now considering the evolution of planting schemes, display architecture, public access, and popular expectations, as well as the psychology of interaction with the strange and wonderful. The second direction was a byproduct of globalization. Here, museums led the way by mounting exhibitions that transcended disciplinary boundaries to demonstrate influences and linkages across time and space. Thought-provoking juxtapositions illuminated the myriad ways in which communities reflected, absorbed, reinterpreted, and sometimes rejected the exotic. Ultimately, among the book’s unifying themes is the pervasive, persistent notion that exotic flora and fauna were essential elements in creating and ordering perfect, microcosmic worlds.

Giulio Mancini e la nascita della connoisseurship

2016 ◽  
Vol 79 (1) ◽  
pp. 63-71
Author(s):  
Stefano Pierguidi
Keyword(s):  
18Th Century ◽  
Art Market ◽  
17Th Century ◽  
Modern Approach ◽  
Works Of Art

Abstract The role of Giulio Mancini as the father of connoisseurship has been recently questioned on the grounds that Mancini never aimed to discuss the attributions of contemporary works of art. Generally the birth of modern connoisseurship, with figures such as the Richardson brothers, has been linked to the growing art market of the 18th century, and the most important 17th-century forerunners, such as Marco Boschini, acted as dealers as well: all these connoisseurs dealt with the attributions of paintings of the previous centuries. This paper explores the roots of connoisseurship in the topography work of Mancini, author of the first modern artistic guide to Rome. Mancini, studying the early Renaissance frescoes in Rome (Jacopo Ripanda, Pastura, Pinturicchio, Baldassarre Peruzzi), discussed Vasari’s biographies and suggested new attributions with a modern approach that clearly anticipates the method of later connoisseurs.

scholarly journals MEDAL UPAMIĘTNIAJĄCY KRÓLEWSKĄ KORONACJĘ JANA III SOBIESKIEGO I MARII KAZIMIERY W KRAKOWIE POCHODZĄCY Z 1676 ROKU. UWAGI IKONOGRAFICZNE

2018 ◽  
pp. 307-336
Author(s):  
Jan Gustaw Rokita
Keyword(s):  
17Th Century ◽  
Works Of Art ◽  
The People ◽  
Current Events

The author of the article discusses in depth ten works of art (prints, numismatic pieces, sculptures) which demonstrate iconographic consistency with the obverse or reverse of the said medal. As the author argues, the medallionist sought both to reflect current events in Cracow and commemorate the beginning of the propitious reign of Jan III Sobieski and Maria Kazimiera, which would benefit the people of the Commonwealth (bear fruits), which is why he used well-known representations from 17th-century compendia of emblems as well as 16th- and 17th-century coinage and medals.

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