scholarly journals The Triple Pompejanum Possessed by the von Stryk Family: The Manor Houses of Vana-Võidu, Suure-Kõpu and Voltveti

2017 ◽  
Vol 13 ◽  
pp. 165
Author(s):  
Jaanika Anderson ◽  
Hilkka Hiiop
Keyword(s):  
19Th Century ◽  
Art History ◽  
Contextual Analysis ◽  
Wall Paintings ◽  
Colour Palette ◽  
The Look ◽  
The 19Th Century

The article is inspired by the fascinating findings and conservationwork done on the Pompeian style murals in Estonian manor housesduring the last few decades. The focus is on the murals in the manorhouses of Voltveti, Suure-Kõpu and Vana-Võidu – all of whichbelonged to different members of the von Stryk family of BalticGermans. The article focuses on the figurative paintings and the styleof the murals, as well as on an art-history-related interpretation anda wider contextual analysis of the Vana-Võidu wall paintings. Thesefinds are the most recent, and this article will study the possiblemodels and ideas for them, search for their art history context andimportance among the triple Pompejanum of the von Strycks. Thewall paintings in the Suure-Kõpu and Voltveti manor houses areused as reference material.The Vana-Võidu, Suure-Kõpu and Voltveti manor houses wererebuilt in the late neoclassical style between 1830s and 1840s. Thewall paintings in these late neoclassical manor houses were madeduring the second half of the 19th century and were inspired, in allcases, by a desire to achieve the look of an ancient interior. There arePompeian-style murals in all three manors. In Suure-Kõpu and Vana-Võidu, can see figurative paintings as well as the division of the wallsinto panels, which is characteristic of the Pompeian style. In Voltveti,there are no figurative paintings and the colour palette – alternatingwarm and cool pastel shades – is not characteristic of the Pompeianstyle, but the ornamental motives are derived from antiquity. It isknown that different publications about the excavated Campaniancities, were available in Estonia in the 19th century. Apparently, thevon Stryk brothers and the painter(s) were able to use the publishedmotifs, because the figurative paintings at Vana-Võidu and Suure-Kõpu are very accurately detailed.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

scholarly journals ANATOMY OF AN OCCUPATION IN ARTISTIC UPRISING (INTIFADA) PALESTINE

2020 ◽  
Vol 9 (73) ◽  
Keyword(s):  
19Th Century ◽  
Art History ◽  
Turning Point ◽  
War Memory ◽  
Oslo Accords ◽  
The Past ◽  
Mona Hatoum ◽  
Social War ◽  
The 19Th Century ◽  
State Of Israel

This research covers an examination of the effects of the ongoing war in Palestine on artists of Palestinian origin and their works that can be considered as “uprising (intifada)”. Although the beginning of the Palestine-Israel conflict can be dated back to the end of the 19th century, the turning point has been known as 1948 when the State of Israel was officially declared. While the year 1948 means victory for the Israelis, this date was imprinted on the memories of the Palestinians as a “Catastrophe (nakba in Arabic)”. The First Palestinian Intifada (uprising), which took place twice in Palestine from 1987 to 1993 (the period from the signing of the Oslo Accords and the Palestinian uprising against the occupation of Palestinian lands), the second Palestinian Intifada (uprising) from September 2000 to 2005 and the interim periods when the artists came to the fore with their works were evaluated within the scope of the uprisings. Artists who attempt to trace the traces of individual and social war memory, notably those such as Mona Hatoum, Emily Jacir and Dana Awartani, were addressed within the scope of the research on the works of artists of Palestinian origin. As a result, the works of artists, who have been continuing in Palestine from the past to the present and cannot easily isolate themselves from the conflicts, will take their place in art history as the anatomy of an occupied society by war. Keywords: war, art, Intifada art, Palestinian artists, occupation

scholarly journals Picasso, Alta y Baja Cultura a Final de Siglo

2019 ◽  
Vol 7 (2) ◽  
pp. 114
Author(s):  
Inocente Soto Calzado
Keyword(s):  
Popular Culture ◽  
New Media ◽  
Visual Culture ◽  
19Th Century ◽  
New Information ◽  
The Look ◽  
The One ◽  
The 19Th Century ◽  
First Time

The look of the popular culture to art has always had for the creator the contrariety of the mockery and the reward of the diffusion, to make itself known in the new media of masses multiplying its public, halfway between the admiration and the ridiculous. Painters and sculptors checked it for the first time at the end of the 19th century, between official and specialized criticism and the most popular and apparently less objective of comediansand their humorous interpretations. One of these artists was the young Pablo Ruiz Picasso, with some unknown graphic criticism that give new information on the complexity of his first Spanish artistic stage and theimportance of illustrated magazines in the visual culture of his beginnings and in his professional world. The data collected in the hemerography of the time make up a narrative different from the one officially admitted 

Francis James Herbert Haskell 1928–2000

2003 ◽  
Author(s):  
Charles Hope
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
17Th Century ◽  
Oxford University ◽  
French Painting ◽  
King's College ◽  
History Of Art ◽  
History Of ◽  
The 19Th Century

Publication of Patrons and Painters (1963), which dealt with art in 17th-century Rome and 18th-century Venice, established Francis Haskell as one of the leading art historians of his generation. He held posts at King's College Cambridge and was then appointed Professor of the History of Art at Oxford University with a Fellowship at Trinity College. Haskell turned to studying French painting of the 19th century. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France (1976) won the Mitchell Prize for Art History. Haskell was elected a Fellow of the British Academy in 1971. Obituary by Charles Hope.

scholarly journals ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS

2021 ◽  
Vol 4 ◽  
pp. 653-679
Author(s):  
Silvija Ozola
Keyword(s):  
Research Methods ◽  
20Th Century ◽  
19Th Century ◽  
Art History ◽  
Research Problem ◽  
Art Museum ◽  
Early 20Th Century ◽  
Research Goal ◽  
Technical Innovations ◽  
The 19Th Century

Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.

scholarly journals Painted Churches of Medieval Lebanon: an Overview

Chronos ◽  
2019 ◽  
Vol 24 ◽  
pp. 129-161
Author(s):  
Tasha Voderstrasse
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Religious Art ◽  
Wall Paintings ◽  
Medieval Period ◽  
Christian Art ◽  
New Ideas ◽  
The Subject ◽  
The 19Th Century ◽  
Scholarly Attention

The modern country of Lebanon preserves an important medieval and post-medieval legacy of standing churches and Christian religious art. After their discovery by western scholars in the 19th century, the art of the churches only attracted limited scholarly attention until about 100 years later, when they began to be studied in detail. Now a variety of studies have appeared on the churches and their art, including several books (Nordiguian and Voisin 1999 and subsequent new editions; Cruikshank Dodd 2004; Immerzeel 2009; Zibawi 2009) and numerous articles in both print and online. This article seeks to provide an overview of the studies of these monuments, first discussing the origins of the study of these churches and the viewpoints of the different scholars who have approached the material, and then examining some Of the surviving monuments. The churches discussed here date to what can be most accurately termed as a high medieval period of the 12th-13th centuries AD, when Lebanon was under the rule of the Crusaders. Nevertheless, while the region was under Crusader control, there is a growing recognition that the monuments that were produced were local art that was influenced from a variety of sources. Post-Crusader material will not be discussed, although it should be noted that the country also possesses important Christian art from the subsequent periods. The article will not only examine the standing architecture, but also the wall paintings, which have been the subject of considerable attention on the part of scholars in recent years. Further, other Christian religious items that would have been found or still can be found in the churches, such as icons, will also be treated here, particularly as a number of scholars have related the different art forms to each other. It is by examining all forms of Christian art surviving in Lebanon from this period that we can come to a better understanding of how and why this material was produced, as well as how the studies of this material has evolved through time. It can also help provide new ideas for further research, in addition to the valuable work of documentation, restoration, and interpretation that has been occurring since the end of the 20th century.

The German Rundbogenstil and Reflections on the American Round-Arched Style

1988 ◽  
Vol 47 (4) ◽  
pp. 351-373
Author(s):  
Kathleen Curran
Keyword(s):  
United States ◽  
New York ◽  
19Th Century ◽  
The United States ◽  
Contextual Analysis ◽  
Complex Nature ◽  
Central European ◽  
The 19Th Century

This article investigates the German Rundbogenstil and its influence on the American "round-arched style." A stylistic and theoretical phenomenon of the 19th century, the German Rundbogenstil held both a specific and a generic meaning: as a contemporary building style and as a term for historical round-arched architecture. In modern scholarship, the Rundbogenstil has come to denote any round-arched building with Romanesque or Italianate features designed by certain early to mid-19th-century German architects. A general contextual analysis of the complex nature of the 19th-century round-arched styles or "tendencies" in Germany helps to define more precisely the Rundbogenstil. Following a theoretical and stylistic examination of major monuments in Karlsruhe, Munich, and Berlin, the present paper outlines the salient characteristics of the Rundbogenstil and its influence in America in the hands of certain central European emigrant architects in New York and two major mid-19th-century American architects. The fundamental theoretical change which the style underwent in the United States in both of these groups warrants a distinct label-the American "round-arched style."

ЦИРКОВЕ МИСТЕЦТВО У ПРОСТОРІ ТА ЧАСІ: ВІД КОЛІЗЕЮ ДО АМФІТЕАТРУ ЕСТЛІ; ВІД СКОМОРОХІВ ДО СУЧАСНОСТІ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
19Th Century ◽  
Art History ◽  
Western Europe ◽  
18Th Century ◽  
History Of ◽  
Reasonable Ground ◽  
The 19Th Century ◽  
Further Development ◽  
New Time

У контексті дослідження особливостей розвитку циркового мистецтва і циркової справи на західноукраїнських землях кінця ХVІІІ–ХІХ ст. поставлено завдання простежити процес становлення циркового мистецтва на етнічній території України. Розглянуто проблематику визначення зв’язку сучасного циркового мистецтва України з мистецтвом скоморохів; зроблено спробу визначення ступеню «спорідненості» зв’язку цирку Нового часу з давньоримським цирком.З’ясовано, що через брак історичних відомостей не існує підстав пов’язувати творчість скоморохів із ґенезою професійного циркового мистецтва в Україні. Більш коректним є визначення витоків сучасного циркового мистецтва в перших гастрольних виступах на етнічній території України західноєвропейських акробатичних і циркових труп, які належать до другої пол. XVIII ст., виходячи зі значущості їх впливу на системність подальшого розвитку циркових жанрів і циркового мистецтва. Розглянуто і визначено спільні риси, відмінності і особливості цирку Нового часу і давньоримського цирку.Ключові слова: цирк, циркове мистецтво, історія цирку, витоки циркового мистецтва, мистецтво скоморохів, давньоримський цирк. In the context of the study of the features of the development of Circus Art and the functioning of Circus business at the Western Ukrainian lands at the end of the 18th – during the 19th century, the author set the task to track down the processes of the inception of Circus Art at the ethnic territory of Ukraine.In this article, the problems of determining the continuity of contemporary circus art of Ukraine with the art of Scomorochs are considered; an attempt is made to determine the degree of «kinship» of the connection of the circus of New time with the ancient Roman circus. It turned out that today, due to the lack of historical documental evidences, there is no reasonable ground for the scientists to relate the art of Scomorochs with the genesis of the professional Circus Art in Ukraine. It seems more correct to determine the origins of the modern Circus Art in the first guest performances of the acrobatic and circus troupes from Western Europe at the ethnic territory of Ukraine, which belong to the second half of the 18th century, based on the significance of their influence on the further development of Circus genres and the Circus Art.The similarities, differences, and features of the Circus of the New Time and the ancient Roman circus have been considered and determined.Key words: circus, circus art, history of the circus, the origins of circus art, the art of scomorochs, the ancient Roman circus.

Ornament in Europe: From Antiquity to the Twentieth Century

2020 ◽  
Author(s):  
Caroline van Eck
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Art History ◽  
Historical Development ◽  
Historical Overview ◽  
Islamic Art ◽  
Large Space ◽  
The World ◽  
The 19Th Century ◽  
Global Systems

In this article ornament is defined as a decorative feature of objects and buildings, whereas decoration is used in the sense of the deployment of such forms, features, or shapes. Since ornament as it developed in Europe rests on a very particular set of definitions about its nature, and on the relation between the ornament and what is decorated by it, which are certainly not universal, this entry does not consider varieties of ornament developed in other parts of the world. Nevertheless, it does include scholarship on European ornament that originated in studies of ornament from other parts of the world, in particular from Islamic art history. The entry does not aim to give a historical overview of the development of ornament designs; rather, it treats theories of ornament and its historical development. Hence, the comparatively large space devoted to the 19th century, as this is the period in which the study of ornament took off on an unprecedented scale, partly as a result of the arrival of artifacts from all over the world in Europe, the development of global systems of classification in linguistics and anthropology, and the use of ornament in design disciplines as a marker of style and identity.

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