Ornament and Monstrosity in Early Modern Art

2019 ◽  
Keyword(s):  
Early Modern ◽  
Modern Art

scholarly journals Mortality and Retention in Care of HIV-Infected Patients According to Year of Admission and Availability of Antiretroviral Drugs in the Chilean National AIDS Program: Fundacion Arriaran 1990–2015

2017 ◽  
Vol 4 (suppl_1) ◽  
pp. S420-S420
Author(s):  
Marcelo Wolff ◽  
Rebeca Northland ◽  
Danae Lizana ◽  
Claudia P Cortes
Keyword(s):  
Antiretroviral Therapy ◽  
Early Modern ◽  
Marked Reduction ◽  
Modern Art ◽  
Retention In Care ◽  
Antiretroviral Drugs ◽  
National Program ◽  
Hiv Epidemic ◽  
Aids Program ◽  
Period Of Occurrence

Abstract Background The HIV epidemic reached Chile in the mid 1980s, as response a national AIDS commission was created, AIDS care centers were organized (Fundacion Arriaran [FA] was the first) and free antiretroviral therapy (ART) was later provided with progressive coverage, complexity and availability over the years Objective. Quantify evolution of mortality, retention and abandonment (LTFU) over 25 years according to qualitatively different periods in the national program of access to ART, from no availability to full coverage with current drugs at FA center Methods Retrospective analysis of FA updated database of the 5080 adult patients admitted from 1990 to 2014, who were distributed in 4 groups: A: no ART availability (1990–92); B: mono/dual ART (1993–98); C: early modern ART (HAART) (1999–2007) and D: contemporary HAART (2008–14). Mortality, Retention and LTFU were evaluated at 1, 3, 5 and 10 year intervals from admission and at end of 2015. Mortality was included in period of occurrence; LTFU was permanent absence at center of > 6 months during studied period. Local IRB approved the study Results Main results shown in Table. Mortality varied from 40% to 2%, and 62% to 7% at 1 and 5 years, for groups A and D respectively; 72% to 16% at 10 years for groups A and C, respectively. Retention at 5 years were 28%, 32%, 72% and 77% for groups A, B, C and D respectively. LTFU was 10%, 17%, 12% and 10% at 5 years for same groups, respectively. At 12/2015 6%, 19%, 61% and 84% from groups A, B, C and D, respectively, remained retained in care Conclusion This study showed the marked reduction in mortality and increase in retention of HIV patients concomitant to expanded access to therapy although LTFU remains a problem. Disclosures All authors: No reported disclosures.

scholarly journals TRAVIS DURDEN, MYTHS AND IDOLS. GWIEZDNE WOJNY W ARTYSTYCZNYM ENTOURAGE’U

2019 ◽  
Vol 1 (7) ◽  
pp. 19-35
Author(s):  
Katarzyna BALBUZA
Keyword(s):  
Early Modern ◽  
Digital Technology ◽  
Modern Art ◽  
Pop Culture ◽  
Star Wars

The project Myths and Idols, by the French photographer Travis Durden, came into being in 2015 by means of digital technology. The artist processed photos of nine selected modern sculptures, mostly related to ancient matters, in order to provide them with the attributes or heads belonging to the heroes of the famous Star Wars saga. The sculptures chosen by Durden for his project had been created by European artists (French sculptors and one Italian master) and they are exclusively of an early modern provenance (arising from the Renaissance, Classicism, and Neoclassicism). Not a single work of ancient art is included. However, the classical (ancient) art itself became an object of the Parisian sculptor’s interest in terms of taking early modern art into account as the artists of the latter patterned themselves on ancient samples and picked up ancient subject matters. Likewise, Star Wars in turn constitutes a product of the American pop- culture frequently referring to motifs which had originated in ancient culture. The article discusses all nine photo collages and the whole project is being interpreted. Myths and Idols offers an example of the double reception of ancient culture – the early modern and contemporary ones.

scholarly journals The Legend of Veronica in Early Modern Art

2020 ◽  
Author(s):  
Katherine T. Brown
Keyword(s):  
Early Modern ◽  
Modern Art

Space, Vision, and Faith

Space ◽  
2020 ◽  
pp. 176-183
Author(s):  
Mari Yoko Hara
Keyword(s):  
Early Modern ◽  
Full Advantage ◽  
Modern Art ◽  
Optical Function ◽  
Linear Perspective ◽  
Visual Artists ◽  
Piero Della Francesca ◽  
One To One

Linear perspective served as a useful tool in the pursuit of verisimilitude in early modern art. But the technique’s enduring appeal among visual artists from this period did not stem from its ability to transcribe the world’s appearance alone. Rather, as this Reflection highlights, it was the perspectival image’s capacity to build a direct, one-to-one rapport with a viewer that most excited art practitioners. Painters like Piero della Francesca and Giovanni Bellini took full advantage of linear perspective’s potential for simulating vision. The spaces they constructed in altarpieces and other devotional imagery often showed supernatural realms that clearly defy human optical function. This essay presents several examples of early modern works that evoke spiritual vision through linear perspective constructions.

scholarly journals ‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory

2020 ◽  
Vol 8 (3-4) ◽  
pp. 243-265
Author(s):  
Lisa Wiersma
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Natural Philosophy ◽  
Modern Art ◽  
Surface Effects ◽  
17Th Century ◽  
Art Theory ◽  
Generic Term ◽  
Baroque Art ◽  
Human Flesh

Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.

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