scholarly journals The work of Pieter Post in the context of the development of classicism in Dutch painting of the 17th century

2021 ◽  
pp. 164-168
Author(s):  
Ol’ga A. Korol’kova ◽  
Keyword(s):  
Main Part ◽  
17Th Century ◽  
Russian Art ◽  
Dutch Art ◽  
History Of Art ◽  
History Of ◽  
Human Figure ◽  
The Individual ◽  
Artistic Heritage ◽  
Individual Style

The author studied the pictorial heritage of the Dutch artist and architect of the 17th century Pieter Post. In the scientific works of Russian art critics, the master’s work is mentioned in the context of his collaboration with the famous architect Jacob van Campen, even though Post is no less significant in the history of art. This article proposes to concentrate on the analysis of the artist’s canvases, tracing the evolution of his creative manner, which was formed under the influence of the art of the Italians and landscape painters of Holland, which is especially noticeable in the first paintings of Post. With the development of skill, the artist acquires his own style, characterized by an attempt to symmetrically build a composition, the predominance of line over color, the specificity of the interpretation of the human figure, which is due to the spread of the ideas of classicism in Dutch art. The main part of the artistic heritage of Pieter Post is made up of architectural monuments created in the classicist style, however, based on the study of the master’s painting, one can trace the stages of the formation of classicism in Holland in the 17th century and the formation the individual style of Post.

The Burial of Alexander Nevsky in Vladimir: the Archaeology of the Veneration

2021 ◽  
pp. 76-107
Author(s):  
Л.А. Беляев ◽  
П.Л. Зыков ◽  
О.М. Иоаннисян ◽  
А.В. Сиренов
Keyword(s):  
Main Part ◽  
17Th Century ◽  
Saint Petersburg ◽  
History Of ◽  
The Church

В статье публикуются материалы по истории некрополя при главном храме монастыря Рождества Богородицы во Владимире, где в 1263 г. был погребен князь Александр Ярославич Невский. Основная часть сведений получена в 1997–2000 гг. при раскопках остатков собора (снесен в 1930 г.). Это белокаменные саркофаги и могилы, а также остатки самого собора, построенного в 1198 г. из белого камня, и его галереи, целиком перестроенной из кирпича в XVII в. В кладке галереи была обнаружена ниша с нижней частью саркофага, возможно, служившей одной из реликвий князя после переноса его мощей в Санкт-Петербург (1722–1724). Традиционные источники, рассказывающие о судьбе погребения князя Александра в XIV—XVIII вв., рассматриваются в свете археологических данных и новых архивных документов и фотографий (в том числе - о каменных гробах, найденных при сносе собора в 1930 г.). Materials on the history of the necropolis near the principal church of the monastery of Nativity of Blessed Virgin where Prince Alexander Nevsky was buried in 1263 are published in the article. The main part of information was obtained during the excavation of the church remnants (excavations were performed in 1997-2000). The church was demolished in 1930. Archeologists discovered sarcophagi and tombs made of white stone and remnants of the very church built in 1198 of white stone and of its gallery that was rebuilt completely of bricks in the 17th century. A niche was discovered in the brickwork and contained a lower part of a sarcophagus. That served (probably) as a relic of Alexander upon his remnants transfer to Saint-Petersburg. Traditional sources telling the fate of Prince Alexander's internment are considered in light of archeological data and new archive documents and photos including photos of stone sarcophagi found during the demolition of the church in 1930.

scholarly journals THE PORTRAIT OF SERGEI YESENIN IN ESSAYS-MEMOIRES OF YURY ANNENKOV AND MAXIM GORKY

2020 ◽  
pp. 165-170
Author(s):  
Margarita V. Olyunina
Keyword(s):  
Comparative Analysis ◽  
Functional Methods ◽  
History Of ◽  
Maxim Gorky ◽  
The Individual ◽  
Individual Style

The paper presents a comparative analysis of the methods of creating a verbal portrait in the essay by Maxim Gorky “Sergei Yesenin” and in the memoires of Yury Annenkov “Sergei Yesenin”. The possibility and necessity of comparing the two selected works is explained by both the factual material chosen by the authors (both writers devote their essays to Sergei Yesenin) and similar methods of creating a verbal portrait of the poet, and the context of the style of the era, which is reflected in the works and the individual style of each artist. The aim of this work is to substantiate the genre-style features of the considered verbal image of Sergei Yesenin in the abovementioned works, which allows clarifying the created and already axiomatic image of the poet. The study is built using comparative historical and historical functional methods, the works of Alexander Veselovsky, Yuri Lotman, Yuriy Mineralov, as well as the experience of modern literary scholars involved in the theory and history of verbal painting. In the process of the comparative analysis of the works, it was revealed that Yury Annenkov and Maxim Gorky, recreating the verbal portrait of the poet Sergei Yesenin, was primarily seeking to portray him as an exponent of the tragic era. Capturing the image of the poet Sergei Yesenin, the painter creates his self-portrait, surrounded by his beloved, at the background of the era in which he lived, the writer tries to guide the reader inside the poetry laboratory of ‟nature”.

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 ХРАМ НАУКИ: МОЗАЇКИ М. А. СТОРОЖЕНКА В ІНТЕР’ЄРАХ ІНСТИТУТУ ТЕОРЕТИЧНОЇ ФІЗИКИ ІМЕНІ М. М. БОГОЛЮБОВА НАН УКРАЇНИ У ФЕОФАНІЇ

2020 ◽  
pp. 166-174
Author(s):  
О. А. Тарасенко ◽  
А. А. Тарасенко ◽  
Н. Р. Кубриш
Keyword(s):  
Theoretical Physics ◽  
Decorative Art ◽  
The People ◽  
History Of ◽  
Modern Level ◽  
Artistic Images ◽  
The Individual ◽  
The Temple ◽  
Individual Style

The purpose of the article is to study the history of creation and ideological content of mosaics MykolaAndrievichStorozhenko (1928–2015) in the interior of the Bogolyubov Institute for Theoretical Physics, NAS of Ukraine, Theophany (1969) in the context of Ukrainian and world heritage of monumental art. The study used historical-cultural, comparative, iconographic and iconologic methods. We rely on the theory of "big time" by M. M. Bakhtin, that allows us to consider the mosaic M. A. Storozhenko with the legacy of world art. The significance of the artistic images of the enlighteners as the apostles of spiritual and scientific knowledge – the pillars of the Temple of Science is shown. Artistic-stylistic analysis revealed the features of the embodiment of the idea of scientific and cultural interconnection of generations of Ukrainian scholars-educators by means of monumental art. The importance of the heritage of national and world art in the addition of the individual style of M. A. Storozhenko is studied. The role of ornament as a national code for the embodiment of the idea of the connection between the clan and the people is revealed. The significance of mosaics in the history of monumental art of Ukraine is determined. The philosophical, cultural and historical content of the monumental compositions of M. A. Storozhenko was studied in conjunction with the problems of national self-identification and polystylism of twentieth-century art. The results of the study are necessary to create the history of monumental decorative art of Ukraine at the modern level of art history.

Linguistisches und Stilistisches zum Hendiadyoin

2005 ◽  
Vol 9 (2) ◽  
Author(s):  
Oswald Panagl
Keyword(s):  
The Other ◽  
Other Hand ◽  
Latin Language ◽  
History Of ◽  
Nominal Compounds ◽  
The Individual ◽  
Semantic Properties ◽  
Individual Style

SummaryThis paper deals with the syntactic and semantic properties of the so-called ‘hendiadyoin’ as well as with its value as a stylistic and rhetoric figure. Apart from its qualities as a specimen of pleonasm and abundancy, the hendiadyoin likewise serves as a tool to compensate the relative weakness of Latin to create nominal compounds, especially of determinative type. Casting a glance on the history of the Latin language and on the development of the individual style of some Latin authors, we can make remarkable observations. Whereas the figure is rather rare in early Latin, classical writers and poets give preference to it. Whereas, on the other hand, Cicero in his first texts prefers the combination of substantives with adjective attributes, he likes the hendiadyoin pattern very much in his mature speeches and dialogues.

Press C→ to Play the Ocarina

2012 ◽  
pp. 368-390
Author(s):  
Dan W. Lawrence
Keyword(s):  
Digital Media ◽  
Media Studies ◽  
Operating Systems ◽  
Video Game ◽  
17Th Century ◽  
Game Studies ◽  
Human Emotion ◽  
History Of ◽  
Digital Media Studies ◽  
The Individual

The purpose of this chapter is to investigate the intersection where digital media studies meet rhetoric and rhetoric is re-introduced to musicology. In the recent academic excitement surrounding game studies, the music of games has been overshadowed. The author would like to call attention to the significance of game music and to consider a rhetorical method to approaching it that calls upon a rekindling of the history of coupling rhetoric with music. The author builds on this history by suggesting the foundation of a rhetorical framework for understanding the argumentative power of video game songs. He then moves to offer an approach for evaluating the ethos of game music that consists of assessing worlds and how they are carried through, and by, music. While 17th century baroque composers thought music to be fundamentally an issue of affections—and especially played off of emotional binaries such as joy/sadness as a rhetorical approach—the author hope to here revive this lost art of applying rhetoric to music through broadening the discussion beyond the matter of human emotion. This rhetorical approach allows the individual a framework with which to evaluate the ethos of game music as it now appears through numerous mobile operating systems, online environments, and as remediated forms manifesting in/as cultural artifacts. As games become ubiquitous, so do their songs.

scholarly journals Transauthorial Screendance: Stravinsky’s Exquisite Corpse, or Brief Notes on Creating an International Omnibus Project

2014 ◽  
Vol 5 ◽  
Author(s):  
Marisa C. Hayes
Keyword(s):  
Cultural Landscape ◽  
Multiple Generations ◽  
Moving Images ◽  
Rite Of Spring ◽  
History Of Art ◽  
History Of ◽  
The Individual ◽  
Exquisite Corpse ◽  
Le Sacre Du Printemps

In honor of the first centenary surrounding the pivotal composition and ballet <em>Le Sacre du Printemps (The Rite of Spring)</em> in 2013, Franck Boul&egrave;gue and I coordinated a collective screendance project entitled <em>Sacre/il&egrave;ge(s)</em>. Created in collaboration with 65 international artists, we sought to explore the ongoing presence of <em>Le Sacre du Printemps</em>&nbsp;internationally and to harness its wide reaching artistic influence in order to create an omnibus cycle of films. While hundreds of stage versions of <em>Le Sacre du Printemps</em>&nbsp;exist, it has rarely been imagined for the screen and is normally identified with an individual artist's vision (Stravinsky's music, Nijinsky or Pina Bausch's choreography, among others). Diverging from these familiar components seemed a fitting tribute to a production whose original look and sound shook the cultural landscape of its era, affecting multiple generations of artists thereafter. This provided the impetus for our first foray into transauthorial screendance and raised a number of questions on the nature of collaboration, community, and authorship: What forms of collaboration are possible for the screen today? Does collaboration itself form a community? Does collaboration represent a compromise on the part of the individual artist or does it simply construct a larger authorial composite? Despite the significance of these questions throughout the history of art&mdash;and moving images in particular&mdash;these subjects are rarely addressed or explored at screendance platforms today.

Book Reviews: Turning the wheel of history

1996 ◽  
Vol 50 (2) ◽  
pp. 249-250
Keyword(s):  
Seventeenth Century ◽  
Case Studies ◽  
Intellectual History ◽  
Individual Case ◽  
17Th Century ◽  
Historical Significance ◽  
History Of ◽  
The Individual

Michael Hunter, Science and the Shape of Orthodoxy: Intellectual Change in Late Seventeenth-century Britain . Woodbridge, The Boydell Press, 1995. Pp. xii+345, £55.00. ISBN 0-85115-594-5 Michael Hunter assembles in his new volume 15 chapters, under four heads, from articles and book reviews published over the period 1971-1992. Hitherto unpublished material appears in an introduction and two of the chapters. The introduction explains the provenance of the chapters and their historical significance in relation to ‘A new theory of intellectual change’. The new theory suggests that the intellectual history of Britain during the 17th century may be better understood from the individual case studies Hunter offers, rather than broad generalizations supported by accumulated instances, as provided, for example, by Keith Thomas in his Religion and the Decline and the Decline of Magic (1971).

scholarly journals DEVELOPMENT OF ART COLLECTING IN UKRAINE: HISTORICAL, CULTURAL AND SOCIAL PRECONDITIONS DURING XVII–XVIII CENTURIES

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
N. Shpytkovska
Keyword(s):  
Cultural Values ◽  
Scientific Article ◽  
Left Bank ◽  
Art Collecting ◽  
Art Collectors ◽  
History Of Art ◽  
Ruling Elites ◽  
History Of ◽  
The Individual ◽  
Geographical Context

The scientific article is dedicated to the study of the origins and features of the art collecting at the territory of modern Ukraine. Socio-cultural, geo-political and historical preconditions of the XVII–XVIII centuries became subject for consideration while making conclusions as to why and when art collecting became widespread among the ruling elites and noble families of the region.The article examines the history of such collections, their main characteristics and components at the time when Ukraine was divided into Left-bank and Right-bank.The research identifies main types of artistic practices widespread at that time in Ukraine, which served as the source of collectibles for private and primary institutional collections. The article considers differences of art collecting phenomenon caused by geographical context (Right-bank, Left-bank Ukraine) and by changes in political and religious factors, all having impact on the behaviour and preferences of collectors. The research covers names of well-known art collectors and demonstrates examples of collections, which laid the foundation for the transformation of collecting from the individual accumulation and preservation of cultural values to the formation of museum-level collections of national and worldwide importance.Keywords: collecting, art collecting, collectors, the phenomenon of art collecting, the history of art collecting.

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