scholarly journals Seven Unknown Drawings by Luigi Manini

2021 ◽  
Vol 8 (3) ◽  
pp. 231-260
Author(s):  
Luís Manuel Sêrro
Keyword(s):  
19Th Century ◽  
Artistic Expression ◽  
Social Response ◽  
Art Nouveau ◽  
Final Phase ◽  
Art Exhibition ◽  
Art Deco ◽  
Architectural Element ◽  
Symbolic Value ◽  
The 19Th Century

Luigi Manini, set designer at the Nacional Theatre of S. Carlos lived in the second half of the 19th century, which was characterized, in the field of aesthetics, by the transition from romanticism to naturalism. This article aims to analyze seven unknown drawings by Luigi Manini, as an expression and illustration of this artistic period. For this, we analyse the three major periods of art exhibition by Hegel in his work Aesthetics. Integrated in this analysis the evolution of artistic expression, with more emphasis, is illustrated the study of ornamentation, its nature, its importance in stylistic participation and, along its journey, the variation between the expression plane and the content plane that the ornament, as a sign, suffered. To conclude this journey, romanticism, used ornamentation as an evocative element of cultural styles and cultures, consistent with the essence of romanticism: a sublime expression. But in its final phase, romanticism evolved into naturalism that manifests, not the differentiated architectural element, but its collective nature. Urbanism is a social response of Architecture. The ornament loses, at this time, its symbolic value, but maintains its expression plan that was developed with an appreciation of its plastic value. It’s the ornate by the ornate that keeps, still, more time in Belle Époque; in Art Nouveau and Art Deco, to disappear completely in Modernism. These drawings, from an affirmation phase of Luigi Manini’s, are integrated at this time, and their analysis will be concluded from the historical conclusion of this article.

Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper

2017 ◽  
Vol 62 (1-2) ◽  
pp. 41-46
Author(s):  
Helma Schaefer
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Mass Production ◽  
Art Nouveau ◽  
Paper Production ◽  
Art Deco ◽  
Poor State ◽  
The Poor ◽  
The 19Th Century ◽  
The Middle Ages

In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.

Fin de siècle

2018 ◽  
Author(s):  
David Martens
Keyword(s):  
19Th Century ◽  
Cultural Production ◽  
Fin De Siecle ◽  
Art Nouveau ◽  
European Languages ◽  
Fin De Siècle ◽  
Mind Set ◽  
Historical Moment ◽  
The 19Th Century ◽  
First Time

Referring to the end of the 19th century, Fin de siècle not only represents a specific historical moment but also a part of the sensibility and of the cultural production of the period. It is particularly challenging to define fin de siècle within the artistic world, as it neither corresponds to a movement around a leading figure, nor to an amalgamation of shared and promulgated aesthetic principles (there is no manifesto laying claim to fin-de-sièclism). The term appears for the first time at the end of the 1880s. In its French form, it has imposed itself ever since on most Western-European languages (e.g., English, German). Fin de siècle crystalizes certain anxieties that are typical of this era: the period is characterized by a particular striving for modernity, while at the same time it is also perceived as an end. This explains why the fin de siècle mentality has often been closely related to decadence (or decadentism) to which it is, however, not limited: symbolism, aestheticism or even art nouveau all fall within fin de siècle. The fin de siècle mind-set is marked by an ensemble of shared features, in particular an ambivalent fear for the end.

scholarly journals Origins and functions of comic in feuilleton as literature phenomenon

2020 ◽  
pp. 107-117
Author(s):  
V. E. Golovchiner ◽  
◽  
T. L. Vesnina ◽  
Keyword(s):  
19Th Century ◽  
Short Fiction ◽  
Printing Press ◽  
Artistic Expression ◽  
Free Form ◽  
The 19Th Century ◽  
Regulatory Trends ◽  
Slapstick Comedy

The genesis of a feuilleton phenomenon in the periodic press, always attracting the readers’ attention, has not been thoroughly researched. The work aims to identify the feuilleton origins and clarify the nature of its expressive means and comic functions. The research materials include the records of the feuilleton discussions in the Soviet press (1922–1926), a collection of works “Feuilleton” (1927), later works on the feuilleton and historical poetics. The following factors are considered to have contributed to the rise of the feuilleton: increased potential of the printing press at the turn of the 19th century, emergence of commercial periodicals, publishers’ interest in increasing the subscribers’ number, growing opposition to the regulatory trends of classicism and acute interest of romanticists in folklore and freedom to use its expressive means in the artistic sphere. The feuilleton is conceptualized as a young form, independent of genre canons, developing the low farce and slapstick comedy expressive means and its comic potential. According to ancestral memory, the comic means as basic artistic expression suggests both mockery and pleasure function for the feuilleton audience and predetermines the double existence of the feuilleton text and difference in naming at different times and in different publications. Texts published in periodicals are traditionally viewed as feuilletons, though the same texts published elsewhere can be considered short fiction forms. The paper defines the feuilleton as belonging to periodicals but distinguished among official and serious papers by its wording and free form of a mostly comic statement, pleasing for readers.

scholarly journals «Descubrir» y «descubrirse» en el románico: un ejemplo catalán de patrimonio de la humanidad

CEM ◽  
2020 ◽  
pp. 108-126
Author(s):  
Maria Garganté Llanes
Keyword(s):  
19Th Century ◽  
World Heritage ◽  
World Heritage Site ◽  
Heritage Site ◽  
The World ◽  
National Movements ◽  
Romanesque Art ◽  
Symbolic Value ◽  
The 19Th Century

The aim of this work is to present a case study on the identification between Romanesque art and national identity in Catalonia, an association that emerged in the framework of the emergence of national movements at the end of the 19th century, but that was recovered a century later when the process for the declaration of the Romanesque churches of the Boí Valley as a world heritage site by UNESCO began. The identification of the Romanesque with a «national art» is reinforced in this case because it is a Romanesque art located in the heart of the Pyrenees, with the strong symbolic value of the mountain as the «cradle» of the Catalan nation. We will analyse the World Heritage process and its effects in the context of a small territory, with a scarce population and dependent to a great extent on the seasonality of tourism.

scholarly journals THE ART NOUVEAU TILES AS FRAMES TO ARCHITECTURE IN LISBON

ARTis ON ◽  
2016 ◽  
pp. 62-74
Author(s):  
António Francisco Arruda de Melo Cota Fevereiro
Keyword(s):  
Case Studies ◽  
20Th Century ◽  
19Th Century ◽  
Art Nouveau ◽  
Architectural Features ◽  
The 19Th Century

The combination of tile with architecture has been used in Portugal for centuries. It achieved a unique level of artistry by the end of the 19th century and beginning of the 20th century. The use of new colours and modern stylizations were explored during the Art Nouveau period. The tile was used as a frame for architectural features in order to enhance the building. By then all the elements were intended to be harmoniously combined as a whole.A span of case studies, chronologically ordered, illustrates the role and evolution of tiles used during this period, when tiles were designed by academic painters or architects. The comparison of projects published, or kept in archives, with the actual buildings led to a new understanding about this artistic period in Portugal and, particularly, in Lisbon and its surroundings. 

scholarly journals Art Casting in Portuguese 19th Century Industrial Foundries: A Multi-Analytical Study of an Emblematic Copper-Based Alloy Monument

Heritage ◽  
2021 ◽  
Vol 4 (4) ◽  
pp. 3050-3064
Author(s):  
Pablo General-Toro ◽  
Rui Bordalo ◽  
Patrícia Raquel Moreira ◽  
Eduarda Vieira ◽  
Antonio Brunetti ◽  
...  
Keyword(s):  
19Th Century ◽  
Technical Information ◽  
Conservation Strategy ◽  
X Ray Diffraction ◽  
X Ray ◽  
Minor Elements ◽  
Symbolic Value ◽  
Outdoor Sculpture ◽  
The 19Th Century ◽  
Copper Based Alloy

The outdoor sculpture of the first Portuguese king, D. Afonso Henriques (c. 1109–1185 AD), placed in Guimarães (North Portugal), is one of the most emblematic national sculptures. Created in 1887 by António Soares dos Reis, it possesses a remarkable symbolic value in the presumed birthplace of the king. In addition to the artistic and heritage importance of the monument, it is one of the few sculptures cast by a Portuguese industrial foundry in the 19th century. This study obtained data on the sculpture’s elemental composition and corrosion products, gathering important historical and technical information. For this purpose, a multi-analytical approach consisting of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM) and scanning electron microscopy (SEM-EDS) was carried out to characterise the bulk metal and corrosion layers. The data revealed a ternary alloy of Cu, Sn and Zn, with Pb, Fe, As, Bi and Mn as minor elements. The alloy matches that of other sculptures cast in that period. In terms of corrosion, it is characterised by the presence of oxides. These results represent the first step for applying an appropriate conservation strategy for bronze sculptures with similar characteristics.

scholarly journals TREŚĆ VERSUS FORMA. Z ROZWAŻAŃ NAD NATURĄ TEKSTU LITERACKIEGO W ŚWIETLE UKRAIŃSKICH MANIFESTÓW LITERACKICH LAT 20. XX WIEKU

2020 ◽  
Vol 8 (2) ◽  
pp. 119-130
Author(s):  
Albert Nowacki
Keyword(s):  
19Th Century ◽  
Literary Work ◽  
Socialist Realism ◽  
Turn Of The Century ◽  
Artistic Expression ◽  
Modernist Literature ◽  
Soviet Republic ◽  
Interesting Issue ◽  
The Subject ◽  
The 19Th Century

The purpose of this paper is to reflect on an extremely interesting issue, which was the attempt to explain the primacy of content over form or form over content in Ukrainian literature. The author emphasizes that this issue was the subject of considerations at the end of the 19th century, when modernist literature, looking for new ways of artistic expression, gave primacy to the form of a literary work over its content. Modernists felt freed from the duty of “moralizing” the reader, arguing that the writer’s duty is to constantly experiment with the form. The author refers to such figures as Mykola Voronyj, Mykola Sriblanski, Yakiv Mozhejko, Dmytro Zahul, and circles associated with the magazine “Muzahet”, “Literature Critical Almanac”, “Ukraїns’ka khata” and the literary group “Moloda Muza”. Discussions at the turn of the century came alive again in the 1920s in the newly formed Ukrainian Soviet Republic. Supporters of socialist realism argued that the content of the literary work is more important, because, in their opinion, the writer’s duty is to “educate” society. Based on the research conducted, it can also be stated that at the same time there were also writers whoemphasized the significant importance of the form of the literary work. Among them were members of the literary group called “Grono”. Later in the paper, the ideas advanced by Valeriian Polishchuk, who proposed the concept of the literature of the spiral (literature like mathematics ), are analysed. An interesting poem theory is also mentioned here, where euphony came to the fore. It was the author’s concept of a new rhythm of the poem, referred to as the “khvilyada”.

Natural disasters and architecture: the 2016 Venice Architecture Biennale "Reporting from the front"

2021 ◽  
Author(s):  
Maria Bostenaru Dan
Keyword(s):  
Climate Change ◽  
Natural Disasters ◽  
19Th Century ◽  
Disaster Mitigation ◽  
Art Exhibition ◽  
Participatory Approaches ◽  
Arts And Culture ◽  
The Usa ◽  
The 19Th Century ◽  
Venice Biennale

<p>Napoleon founded, after drainage and demolition, the Giardini in Venice, which in the 19th century (1985 first edition) started to be the ground for the Venice Biennale. Pavillions were built for different countries, after the model of World Exhibitions. The Venice Biennale was at the begin an art exhibition. Since 1975 the Art Biennale takes place alternatively with the architecture Biennale, each of them every two years. In 2016, the 15th Architecture Biennale was curated by Alejandro Aravena and had the title "Reporting from the front". The Biennale features central pavillions at the Giardini and at the Arsenale (a younger extension), and in the free spaces, and also 61 national pavillions. Google Arts and Culture archived the Biennale 2016 as a museum and it can be consulted also afterwards by anyone. Among others, it called for contributions presenting how architecture is dealing with natural disasters. The overall call and interdependence between natural disasters mitigation and sustainability will be presented. The response to the call was mainly approaching man-made disasters, but also installations on climate change dedicated museums or on disaster resistant infrastructure by Marte architects. The curator himself received 2016 the Pritzker prize, the most prestigious one for architecture, among others for acclaimed work in reconstructing 2010 after an earthquake and tsunami in Chile, using participatory means. Participatory means have an important footprint at the Biennale. 2006 already the USA presented at the Biennale in their Pavillion dealing with the aftermath of Kathrina.</p><p>The contribution at the EGU will compare this approach with the latest developments in participatory approaches to disaster management, also approached in other research works of the author (ex. NHESS publication from 2004, present in the encyclopedia entry), and of dedicated associations (ex. i-REC). It is an endeavour of the contribution of the author to show how architecture and urban planning can contribute to disaster mitigation, also in this session. The author visited the 2016 Venice Architecture Biennale and will report a first hand experience with artistic presentation of the approach to disasters.</p>

Konstantin Somov’s Early Works and Impressionism: A New View on the Issue

2021 ◽  
Vol 18 (4) ◽  
pp. 409-415
Author(s):  
Anna E. Zavyalova
Keyword(s):  
19Th Century ◽  
Sufficient Information ◽  
Art Exhibition ◽  
Work History ◽  
Black And White ◽  
French Art ◽  
History Of ◽  
The Subject ◽  
The 19Th Century ◽  
First Time

The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.

scholarly journals Cenzura polityczna wobec karykatury. Doświadczenia francuskie II połowy XVIII i pierwszej połowy XIX wieku. Przyczynek do walki o wolność słowa

2018 ◽  
Vol 69 (2) ◽  
pp. 271-293
Author(s):  
Jacek Sobczak
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Freedom Of Speech ◽  
Artistic Expression ◽  
Characteristic Element ◽  
Similar Role ◽  
History Of ◽  
Ancient Times ◽  
The 19Th Century ◽  
The Middle Ages

Caricature is one of the forms of artistic expression and it has a similar role to satire. Consequently, some people consider caricature to be one of the forms of satire. Caricature has its origins in ancient times. The history of caricature is illustrated by political changes that civilization experienced. The administrative authorities attempted to fight caricature in numerous countries and France was one of them. This process is a part of the history of censorship that began in Roman times. Afterwards, it developed further during the Christian period of the Middle Ages until the 19th century. Unfortunately, this procedure is present in certain areas even today. The most interesting solutions were the ones adoptedin France. Moreover, it is worth noting that the phenomenon of institutionalization of censorship was not the only characteristic element in France. There were also censorship bodies present in the country despite the formal constitutional declarations of freedom of speech.

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