The Properties of Style. Allusions to the Invisible in 19th-Century Church Art and Architecture

In-visibility ◽  
2020 ◽  
pp. 385-410
Author(s):  
Martin Wangsgaard Jürgensen
Keyword(s):  
19Th Century ◽  
Church Art ◽  
Art And Architecture ◽  
The Invisible

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

Historicism

2020 ◽  
Author(s):  
Mari Hvattum
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Cultural Development ◽  
Early 19Th Century ◽  
Cultural Conditions ◽  
Related Idea ◽  
History Of ◽  
Cultural Historian ◽  
The 19Th Century ◽  
Art And Architecture

In its most general sense, historicism refers to a new historical consciousness emerging in late-18th- and early-19th-century Europe. This novel “historical-mindedness,” as the cultural historian Stephen Bann has called it, sprung from a recognition that human knowledge and human making are historically conditioned and must be understood within particular historical contexts. Historicism inspired new interest in the origin and development of cultural phenomena, not least art and architecture. When used in relation to architecture, historicism usually refers to the 19th-century notion that architecture is a historically dynamic and relative phenomenon, changing with time and circumstance. This in contrast to 18th-century classicism which tended to uphold the classical tradition as a universal ideal and a timeless standard. Historicism in architecture often entails Revivals of various kinds, i.e., the reference to or use of historical styles and motifs. The term is related to concepts such as eclecticism, revivalism, and relativism. In architectural history, an early anticipation of a historicist way of thinking is Johann Joachim Winckelmann’s History of the Art of Antiquity (1764). While still idealizing Greek art, Winckelmann also analyzed Egyptian, Etruscan, Phoenician, and Persian art and architecture, paying close attention to the historical conditions in which each of these cultures emerged. This new attentiveness to the relationship between cultural conditions and artistic expression lies at the heart of historicism, as does the related idea that architecture has the capacity to represent an epoch or a nation, forming a veritable index of cultural development. There is a strong organicist aspect to historicism, i.e., a tendency to think about cultural phenomena as organic wholes that evolve according to laws.

Church Art and Architecture in the Low Countries before 1566.

1997 ◽  
Vol 28 (3) ◽  
pp. 1029
Author(s):  
Larry Silver ◽  
Jeremy Dupertuis Bangs
Keyword(s):  
Low Countries ◽  
Church Art ◽  
Art And Architecture

scholarly journals ARTISTIC DESIGN OF A REPRESENTATIVE GROUP OF PREMISES IN PUBLIC BUILDINGS OF LVIV IN THE SECOND HALF OF THE XIX CENTURY

2020 ◽  
Vol 2020 (13) ◽  
pp. 76-86
Author(s):  
Serhii Hetmanchuk
Keyword(s):  
19Th Century ◽  
Current Trend ◽  
Impact Factors ◽  
Public Buildings ◽  
Interior Decoration ◽  
Main Factors ◽  
Characteristic Features ◽  
Xix Century ◽  
The 19Th Century ◽  
Art And Architecture

The article considers the characteristic features and distinctness of the artistic design of representative rooms of public buildings in Lviv in second half of 19th century. Traced the main factors that influenced their formation, both architecturally and artistically. Highlighted in detail the Viennese historicism and its features in interior decoration, which is had influenced and reflected to the Lviv’s public buildings. For a more detailed analysis of the artistic structure, a representative sample was made of key public buildings, both, in Lviv and their analogues in other cities of the empire. There are was included: theaters, universities, Sejms and parliaments, museums, courts and other buildings, which have a wide representative group of premises. Also highlighted there are common trends, direct and indirect quotations, both in the artistic elements and in the overall composition. In addition, was also show up the key figures in art and architecture who were active in the second half of the 19th century in Lviv who made a significant contribution to the formation of the artistic arrangements of public buildings. Instead, was indicate and considered main impact factors: administrative, cultural, artistic, social and educational. There was administrative influence, both direct and indirect. Along with funding from imperial exchequer, the facts of straight directives on the style of decoration of representative premises are known. There was also a direct influence on the formation of schools, workshops and in general on the field of architecture and art. Another important factor is that, both the elites and society was focused in the all spheres of life on the capital of the empire. Especially in the culture, architecture and art. For conclusions, in stylistic terms, the artistic design of representative public buildings in Vienna followed the pan- European tendency of historicism, but stood out in its characteristic features. Since Lviv was part of the administrative structure of the Austrian part of the empire, by analogy with the capital, it had a corresponding list of key public buildings. Comparative analysis reveals many similarities, from the layout of the premises, to the decorative and applied elements of artistic design, and in some cases there is a direct citation. Among the main factors are administrative, cultural, educational and economic, which are manifested both in the form of directives and in socio-cultural imitation the current trend at that time in architecture and art.

Venoms and poisonings during the centuries. A narrative review.

2020 ◽  
Vol 20 ◽  
Author(s):  
Ioannis Alexandros Charitos ◽  
Roberto Gagliano-Candela ◽  
Luigi Santacroce ◽  
Lucrezia Bottalico
Keyword(s):  
Roman Empire ◽  
19Th Century ◽  
Optimal Solution ◽  
Ancient Greece ◽  
Narrative Review ◽  
History Of ◽  
The 19Th Century ◽  
Modern Era ◽  
The Invisible

: Suffice it to say that the first traces of its use by man date back to ten thousand years ago the venom or poison since the last period of the Paleolithic man used poison to hunt and for defence. Indeed, in the second half of the 19th century, was found in some caves arrows made from the bones of animals characterized by particular grooves. In ancient Greece, the term pharmakon (φάρμακον) had a double meaning: remedy for therapy and venom. This is the period in which we become aware of the fact that a poison cannot be defined only as a substance capable of changing the properties of things. The poisonings are very frequent in the history of the Roman Empire and later in the Renaissance and the modern era. Poison was the protagonist political intrigues of power and is one of the most used lethal weapons over the years. Optimal solution for a perfect murder, the poison has a long history. Its success is due to the invisible and often unpunished death.

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