scholarly journals Przedstawienia Świętej Rodziny wzorowane na kompozycjach Carla Maratty

Artifex Novus ◽  
2020 ◽  
pp. 28-35
Author(s):  
Katarzyna Ponińska
Keyword(s):  
Original Work ◽  
18Th Century ◽  
The Other ◽  
Similar Composition ◽  
Parish Church ◽  
Artistic Value ◽  
Starting Point ◽  
The Subject

Punkt wyjścia artykułu stanowią dwa zbliżone kompozycyjnie obrazy, znajdujące się w kościołach w Pęcicach i Kurdwanowie na Mazowszu. Wzory ikonograficzne obu przedstawień zostały odnalezione w twórczości Carlo Maratty. Temat był tak popularny, ze podejmowany był i realizowany w różnych wersjach: rysunkowej (Louvre), graficznej (przez m.in. Pietera Schencka, Gérarda Edelincka, Francesco Bartolozziego i Johanna Jakoba Frey’a I), a przykłady kompozycji malarskich można odnaleźć w Genui (dzieło samego Carla Maratty), Rzymie (obraz Agostina Mascucci – ucznia Maratty) i w Kanadzie (Victoria). Podobny temat, ale różniący się kompozycyjnie, był podejmowany przez różnych artystów, a oryginał znajduje się w rzymskich Muzeach Kapitolińskich. Kolejne przedstawienie autorstwa Maratty również było powtarzane w grafice (Francesco Bartolozzi). Przykłady malarskich kopii możemy też odnaleźć w Polsce: we Włocławku i Grochowalsku oraz w klasztorze przy kościele św. Kazimierza w Warszawie. Dwie kolejne wersje (różniące się profilem św. Józefa) zachowały się na terenie województwa lubelskiego. Pierwsza,  namalowana przez Kazimierza Wojniakowskiego, znajduje się w ołtarzu głównym kościoła w Włostowicach na przedmieściach Puław. Ze względu na lokalizację, dzieło to powinno być łączone z dworem księcia Czartoryskiego, jednym z najświetniejszych centrów artystycznych w Polsce u schyłku XVIII w. Druga kopia, o niższej wartości artystycznej, znajduje się w parafii w Kurowie.   Depictions of the Holy Family Modelled on Carlo Maratta’s Compositions The starting point for this article were two paintings of a very similar composition. They are to be found in two Mazovian churches, one in Pęcice and the other in Kurdwanów. The iconographic origins of both depictions are to be found in Carlo Maratta’s works. The rendering of the subject turned out to be so popular that it bore fruit in numerous versions. It appears as a drawn version (Louvre), and as a graphical version (for example:Pieter Schenck, Gérard Edelinck, Francesco Bartolozzi, and Johann Jakob Frey I). Examples of paintings that repeat these or similar renderings of this subject can be seen in Genoa (a painting by Carlo Maratta himself), Rome (a painting by Agostino Masucci – Maratta’s pupil), and in Canada (Victoria). A similar subject, but of a different compositional arrangement, was undertaken by the same artist, and his original work is housed in the Capitoline Museums, Rome. This second rendering by Carlo Maratta has also been repeated in graphical versions (Francesco Bartolozzi). Examples of his painted copies can also be seen in Poland (Włocławek and Grochowalsk), and at a convent attached to St. Casimir Church in Warsaw. Two other versions, with a different profile of St. Joseph, are to be found in the Lublin Voivodeship. One is at the main altar of a church in Włostowice, a suburb of Puławy, which was painted by Kazimierz Wojniakowski. On account of its location it should be associated with the Prince Czartoryski court, one of the most outstanding artistic centers in Poland of the end of the 18th century. The other copy, of less artistic value, is to be found in the parish church of Kurów.

Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (4)

1984 ◽  
Vol 98 (2) ◽  
pp. 98-109 ◽  
Author(s):  
J. Bruyn
Keyword(s):  
New York ◽  
18Th Century ◽  
The Other ◽  
Parish Church ◽  
Stylistic Development ◽  
To Come ◽  
The One ◽  
The Town ◽  
Coats Of Arms ◽  
Early Training

AbstractFrom 1911 to 1961 Félix Chrétien, secretary to François de Dinteville II, Bishop of Auxerre in Burgundy, and from 1542 onwards a canon in that town, was thought to be the author of three remarkable paintings. Two of these were mentioned by an 18th-century local historian as passing for his work: a tripych dated 1535 on the central panel with scenes from the legend of St. Eugenia, which is now in the parish church at Varzy (Figs. 1-3, cf. Note 10), and a panel dated 1550 with the Martyrdom of St. Stephen in the ambulatory of Auxerre Cathedral. To these was added a third work, a panel dated 1537 with Moses and Aaron before Pharaoh, which is now in New York (Figs. 4-5, cf. Notes I and 3). All three works contain a portrait of François de Dinteville, who is accompanied in the Varzy triptych and the New York panel (where he figures as Aaron) by other portrait figures. In the last-named picture these include his brothers) one of whom , Jean de Dinteville, is well-known as the man who commissioned Holbein's Ambassadors in 1533. Both the Holbein and Moses and Aaron remained in the family's possession until 1787. In order to account for the striking affinity between the style of this artist and that of Netherlandish Renaissance painters, Jan van Scorel in particular, Anthony Blunt posited a common debt to Italy, assuming that the painter accompanied François de Dinteville on a mission to Rome in 1531-3 (Note 4). Charles Sterling) on the other hand, thought of Netherlandish influence on him (Note 5). In 1961 Jacques Thuillier not only stressed the Northern features in the artist's style, especially in his portraits and landscape, but also deciphered Dutch words in the text on a tablet depicted in the Varzy triptych (Fig. I) . He concluded that the artist was a Northerner himself and could not possibly have been identical with Félix Chrétien (Note 7). Thuillier's conclusion is borne out by the occurrence of two coats of arms on the church depicted in the Varzy triptych (Fig. 2), one of which is that of a Guild of St. Luke, the other that of the town of Haarlem. The artist obviously wanted it to be known that he was a master in the Haarlem guild. Unfortunately, the Haarlem guild archives provide no definite clue as to his identity. He may conceivably have been Bartholomeus Pons, a painter from Haarlem, who appears to have visited Rome and departed again before 22 June 15 18, when the Cardinal of S. Maria in Aracoeli addressed a letter of indulgence to him (without calling him a master) care of a master at 'Tornis'-possibly Tournus in Burgundy (Note 11). The name of Bartholomeus Pons is further to be found in a list of masters in the Haarlem guild (which starts in 1502, but gives no further dates, Note 12), while one Bartholomeus received a commission for painting two altarpiece wings and a predella for Egmond Abbey in 1523 - 4 (Note 13). An identification of the so-called Félix Chrétien with Batholomeus Pons must remain hypothetical, though there are a number of correspondences between the reconstructed career of the one and the fragmentary biography of the other. The painter's work seems to betray an early training in a somewhat old-fashioned Haarlem workshop, presumably around 1510. He appears to have known Raphael's work in its classical phase of about 1515 - 6 and to have been influenced mainly by the style of the cartoons for the Sistine tapestries (although later he obviously also knew the Master of the Die's engravings of the story of Psyche of about 1532, cf .Note 8). His stylistic development would seem to parallel that of Jan van Scorel, who was mainly influenced by the slightly later Raphael of the Loggie. This may explain the absence of any direct borrowings from Scorel' work. It would also mean that a more or less Renaissance style of painting was already being practised in Haarlem before Scorel's arrival there in 1527. Thuillier added to the artist's oeuvre a panel dated 1537 in Frankfurt- with the intriguing scene of wine barrels being lowered into a cellar - which seems almost too sophisticated to be attributed to the same hand as the works in Varzy and New York, although it does appear to come from the same workshop (Fig. 6, Note 21). A portrait of a man, now in the Louvre, was identified in 197 1 as a fragment of a work by the so-called Félix Chrétien himself (Fig. 8, Note 22). The Martyrdom of St. Stephen of 1550 was rejected by Thuillier because of its barren composition and coarse execution. Yet it seems to have too much in common with the other works to be totally separated, from them and may be taken as evidence that the workshop was still active at Auxerre in 1550.

SPATIAL FORMATION IN ARCADES: ANKARA-YENİŞEHİR ARCADES

2020 ◽  
Vol 0 (21) ◽  
pp. 0-0
Author(s):  
Merve KURT KIRAL ◽  
Emel AKIN
Keyword(s):  
18Th Century ◽  
Research Area ◽  
The Other ◽  
The West ◽  
Planning Decisions ◽  
Urban Buildings ◽  
Spatial Features ◽  
Trading Activities ◽  
The Subject ◽  
New Buildings

Spaces are conditioned by social conditions; on the other hand, social structure is affected by spaces. Arcades, the subject of this article, first appeared in Europe in the 18th century as a result of an increase in trading activities. The arcades in Ankara, which were started to be built in the 1950s together with increasing trading activities, contributed to the urban economy with intense activities of shopping, re-determined social and urban relations as essential places of everyday life and became distinctive urban buildings with their original building typologies and the function of maintaining public continuity in the area of private ownership. Aim: This study aims to study the process in which passages emerged and to analyze their spatial features and, in particular, to examine the spatial formation of the distinctive passages in Ankara on the basis of their causation. Method: In the article, spatial features of the passages in the West were mentioned, and the conditions of the period in which the passages in Ankara were built were briefly explained. Spatial analysis of the passages found in the research area were conducted, and the formation of these passages were analyzed together with their reasons. Results: Of the 31 arcades in Ankara, 27 were built between 1950 and 1980 on and around the Atatürk Boulevard in Yenişehir/Kizilay. As of the mid-1950s, new planning decisions which were made one after the other in the built-up area re-shaped the Boulevard and its surrounding as the existing buildings were demolished, allowing to construct new buildings with arcades or stores in their entrances. Their interior designs and connections to the streets are different from the arcades in the West. Conclusion: The present subdivision system and new planning decisions applied in property order shaped the passages which were peculiar to Ankara.

scholarly journals NON-INTENTIONAL COMPONENTS OF INTENTIONAL PHENOMENOLOGY

2021 ◽  
pp. 231-240
Author(s):  
Иван Александрович Авдеев
Keyword(s):  
The Other ◽  
Husserlian Phenomenology ◽  
Saturated Phenomenon ◽  
Starting Point ◽  
The Subject ◽  
The Given ◽  
Field Of Inquiry ◽  
Additional Field

В статье проблематизируются аспекты гуссерлевской феноменологии, которые становятся отправной точкой для новых феноменологических теорий. Эти теории преодолевают затруднения, с которыми сталкивается классическая феноменология, такие как данность истины, историчность субъекта и «пустые» интенции. Неклассические теории предлагают свое дополнительное поле рассмотрения, в котором данность феномена необязательно носит интенциональный характер. Наиболее значимыми из них являются концепция «Другого» Э. Левинаса и «насыщенный феномен» Ж-Л. Мариона. Показано, что данные проекты позволяют работать с новыми классами феноменов. The paper questions some aspects of Husserlian phenomenology which have become a starting point for new phenomenological theories. These theories overcome difficulties of the classic phenomenology, such as: the givenness of the truth, historicity of the subject and «empty» intentions. Non-classical theories offer their own additional field of inquiry, where the given of the phenomenon isn't necessarily of intentional character. Among them, most substantial are conceptions of «The Other» by E. Levinas and «saturated phenomenon» by J.-L. Marion. The paper shows that these projects allow us to work with new kinds of phenomena.

scholarly journals THE CAUCASUS IN THE WORKS OF EUROPEAN AUTHORS OF THE XVIII CENTURY

2018 ◽  
Author(s):  
В.В. ДЕГОЕВ
Keyword(s):  
18Th Century ◽  
The Other ◽  
The Caucasus ◽  
Xviii Century ◽  
The Subject ◽  
The One ◽  
Western Historiography ◽  
Scholarly Attention

Автор ставил перед собой троякую задачу. Во-первых, определить реальный информационный потенциал европейских сочинений XVIII века как источника исторических знаний о Кавказе. Во-вторых, привлечь внимание исследователей к изучению соотношения между источниковедческой и историографической ценностью этой литературы в контексте процесса зарождения научного кавказоведения. В-третьих, выявить роль приходящих политико-идеологических факторов, обусловленных геополитическими интересами западных государств и их специфическим (так сказать, ориенталистским) восприятием Востока вообще и Кавказа в частности. Авторские выводы требуют дальнейшей проверки с целью подтверждения одних идей, корректировки других и критического переосмысления третьих. The threefold task the author had in mind implies the following. First, to assess informative value of the 18th century European sketches on the Caucasus as a source of the appropriate knowledge. Second, to redirect scholarly attention towards searching for distinct lines between murky facts and their interpretation, oftentimes arbitrary, uncritical, and even openly biased. It would help to reveal what might be called a scientific trend in Western «historiography» on the region`s past. Third, to expose the role of the incoming political and ideological factors determined by geostrategic interests of the concerned States on the one hand and by its largely prejudiced, as it were, orientalistic perception of the East on the other. While the author found his general approach promising he hesitates to claim that all of his conclusions are flawless. Some of them need further arguments either pro or contra to deservedly place the subject in question in a wider context of history.

scholarly journals The Philosophy of Social Market Economy: Michel Foucault’s Analysis of Ordoliberalism

2018 ◽  
Vol 138 (2) ◽  
pp. 157-184
Author(s):  
Nils Goldschmidt ◽  
Hermann Rauchenschwandtner
Keyword(s):  
Market Economy ◽  
18Th Century ◽  
Social Market Economy ◽  
Jel Codes ◽  
Collège De France ◽  
General Importance ◽  
Starting Point ◽  
The Subject ◽  
Social Market ◽  
Philosophy And Economics

Abstract Michel Foucault’s lectures at the Collège de France in 1978–1979 centered on the analysis of power with regard to liberalism. Foucault especially focused on German ordoliberalism and its specific governmentality. Although Foucault’s review of the ordoliberal texts, programs, and books is very accurate there are some occasional “schematic” simplifications. Our article evaluates Foucault’s constitution of an ordoliberal “archive,” though more emphasis is placed on the general importance of the phenomenological orientation in Walter Eucken’s work. Hence, three tasks guide our paper: first, an analysis of Foucault’s position; second, the phenomenological foundation of ordoliberal discourse compared to 18th century liberal discourse, i.e. the way in which Walter Eucken received Husserl. Third, our article raises the subject of the mutual historical-epistemological complementation of philosophy and economics by taking Foucault’s analysis as the starting point. Furthermore, the consequences of a phenomenological, i.e. “eidetic” order of the economy, is discussed, focusing mainly on the expansion of competition in social domains. JEL Codes: B20, B29, B40

Introduction

2018 ◽  
Author(s):  
Scott Barry Kaufman
Keyword(s):  
Subject Matter ◽  
The Other ◽  
Starting Point ◽  
The Subject ◽  
The Ideal

One school fixed its attention upon the importance of the subject-matter of the curriculum as compared with the contents of the child’s own experience. Not so, says the other school. The child is the starting point, the center, and the end. His development, his growth, is the ideal. Not knowledge, but self-realization is the goal....

Towards Data Oriented Analysis of the Art Market: Survey and Outlook

e-Finanse ◽  
2016 ◽  
Vol 12 (1) ◽  
pp. 21-31
Author(s):  
Dominik Filipiak ◽  
Agata Filipowska
Keyword(s):  
State Of The Art ◽  
Art Market ◽  
Market Survey ◽  
Artistic Value ◽  
Econometric Methods ◽  
Auction Houses ◽  
Starting Point ◽  
Complex Statistical Analysis ◽  
The Subject ◽  
Definition Of

AbstractDue to the constantly growing interest in alternative investments, the art market has become the subject of numerous studies. By publishing sales data, many services and auction houses provide a foundation for further research on the latest trends. Determining the definition of the artistic value or formalisation of appraisal may be considered quite complex. Statistical analysis, econometric methods or data mining techniques could pave the way towards better understanding of the mechanisms occurring on the art market. The goal of this paper is to identify, describe and compare solutions (and related challenges) that help to analyse, make decisions and define state of the art in the context of the intersection of econometrics on art markets and computer science. This work is also a starting point for further research.

scholarly journals The priesthood of Christ in the light of John Paul II’s letters to priests for Maundy Thursday

2021 ◽  
pp. 191-205
Author(s):  
Tomasz Nawracała
Keyword(s):  
The Other ◽  
Special Topic ◽  
John Paul Ii ◽  
Starting Point ◽  
The Subject ◽  
The One ◽  
The Mind ◽  
The Sacrifice ◽  
The Church ◽  
Broad Approach

The long pontificate of John Paul II was a time for the Church to continue reflecting on the fundamental themes that constitute the identity of the community of Christ’s disciples. Among many subjects, the priesthood appears to be a special topic: on the one hand, through the pope himself and his pastoral activity, and on the other - through a series of documents devoted to the priesthood. This article will present the person of Christ as a priest since it is the starting point for reflection on the priesthood as such. In the mind of the Polish Pope, Christ is the only priest who connects His priesthood with the sacrifice on the cross. This sacrifice includes the perfection of mediation between God and people, and simultaneously, the completion of what Christ possesses eternally as the Son. Sonship, mediation and the priesthood are topics that should be considered together as they not only interpenetrate but also complement each other. Such a broad approach to the subject, however, is limited to the analysis of the Letters to priests for Maundy Thursday.

scholarly journals Women as victims of environmental crime and the relation of their victimization to the victimization of animals: An ecofeminist perspective

Temida ◽  
2018 ◽  
Vol 21 (1) ◽  
pp. 91-106 ◽  
Author(s):  
Neda Savic
Keyword(s):  
Subject Matter ◽  
Environmental Crime ◽  
Crime Victims ◽  
The Other ◽  
Vulnerable Groups ◽  
Fundamental Theory ◽  
Political Movement ◽  
Adequate Response ◽  
Starting Point ◽  
The Subject

Ecofeminism, as a socio- political movement/ ideology, emphasizes the conceptual connections between oppression against woman and oppression against nature. On the other hand, environmental crime victims are the subject matter of green victimology, which defines environmental crime in the wider sense, so that it consists not only of criminal offences, but also of all the non-incriminated ecologically harmful acts. As its victims mostly appear to be women, nature/ ecosystems, animals and vulnerable groups, therefore ecofeminism serves as the fundamental theory in exposing the andocentric context of their victimization. Taking that as a starting point, an overview of the victimological patterns and roots of victimization by environmental crime, as it is defined in green victimology, is presented in the paper. This is done from an ecofeminist perspective. The focus is on the most frequent victims of environmental crime - woman and animal. The objective is to find certain common denominators of their victimological patterns and roots of victimization in order to make proposals for a more adequate response to their victimization.

PORTRAIT OF THE CHARACTER PUGACHEV IN A.S. PUSHKIN’S NOVEL THE CAPTAIN’S DAUGHTER: FROM THE ORIGINAL TO THE TRANSLATION

2020 ◽  
Vol 10 (Special) ◽  
pp. 97-104
Author(s):  
Thuong Linh Vu
Keyword(s):  
Original Work ◽  
18Th Century ◽  
The Other ◽  
The Novel ◽  
Other Hand ◽  
Late 18Th Century ◽  
The One

The novel The Captain's Daughter by Pushkin has been acknowledged by researchers as a prose encyclopedia about Russian life in the late 18th century. In this work, Pushkin proved himself not only a responsible historian, but also a talented portrait painter. This article is aimed at clarifying the art of creating the portrait of the character Pugachev in Pushkin's novel The Captain's Daughter. By making a comparison between the original and the translation by Professor Cao Xuan Hao, we have found that the translator has made fairly accurate depictions of the characters. However, there remain some limitations in the Vietnamese translation, including the incorrect translation of several portrait features of the characters and the omission of some details. These drawbacks, on the one hand, have reduced the expressiveness of the characters’ portraits; on the other hand, they have hindered the readers from fully perceiving the spirit of the original work.

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