scholarly journals Visual art as a form of individualization of collective experience: Renaissance discourse

2021 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Art History ◽  
Visual Art ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Cultural Development ◽  
Subject Field ◽  
Marsilio Ficino ◽  
Collective Experience ◽  
The Subject ◽  
Pietro Aretino

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

scholarly journals Mano y rostro. La filosofía de la expresión en Leonardo da Vinci y Marsilio Ficino

2019 ◽  
Vol 40 (2) ◽  
pp. 65-92
Author(s):  
Gianluca Cuozzo
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Marsilio Ficino ◽  
Homo Faber

El presente artículo se centra en Marsilio Ficino y Leonardo da Vinci. Ambos autores describen la producción humana de artefactos como principios transformadores que afectan el mundo a partir de un punto de vista tanto técnico como estético. En este sentido, manus y risus se convierten en bastiones de una antropología típicamente renacentista, según la cual el homo faber se eleva a ese estado divino que juega un importante papel en la filosofía de Nicolás de Cusa; mientras la mano humana es el principio transformador activo, la sonrisa es el signo de un trabajo cumplido. En suma, estos dos aspectos revelan un proceso de espiritualización de la realidad, i.e., la perfecta interpenetración de la belleza con la virtud y la verdad. Este trabajo explorará las similitudes entre los dos autores también en relación con el retrato Ginevra de’ Benci (1475-1478 ca.), de Leonardo da Vinci; una muy especial “sermón pintado” con el fondo del cuadro, siendo un tratamiento filosófico conciso en el que se lee “virtutem forma decorat”, fórmula que Ficino evoca en su Convivium.

scholarly journals Technology as a factor in the cultural development of mankind: a study of the production nature of primitive culture

2021 ◽  
pp. 57-60
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Fire Control ◽  
Production Technologies ◽  
The Subject ◽  
Organization Of Production ◽  
First Time ◽  
Metal Melting

Purpose of article. Explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools of labor have become cultural artifacts, works of art. The emergence of production technologies (stone processing, fire control, metal melting) radically transformed the specifics of the organization of production activities, and therefore changed the course of cultural development. Therefore, in the course of the study, the formative role of technology in the formation of artistic culture was proved.

Some Recent Developments in Aircraft Instruments

1924 ◽  
Vol 28 (157) ◽  
pp. 3-34
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Recent Developments ◽  
The Subject

In April, 1919, the lecturer had the honour to address the Society on the subject of Air Navigation, the Chairman being Air Commodore Brooke Popham, who had just been appointed as the first “ Director of Research ” at the Air Ministry. During the introductory remarks made by the Chairman at that lecture, an aircraft was described as being an “ encumbrance ” unless “ one could get it where it was wanted.” Now since it happens that one of the main purposes for which aircraft instruments exist is to enable such craft to be got “ where they are wanted,” the importance of our subject to-night will not be denied. Moreover, according to a recent most able paper in our Journal, Leonardo da Vinci himself stated his conviction that “ Instrumental or mechanical science is very noble, and useful beyond all others.“

Up Close: Laboratoire de Recherche des Musées de France: Materials Science in the Service of Art History

MRS Bulletin ◽  
1994 ◽  
Vol 19 (7) ◽  
pp. 68-71
Author(s):  
Maurice Bernard ◽  
Jean-Michel Dupouy
Keyword(s):  
Social Status ◽  
Art History ◽  
Materials Science ◽  
Da Vinci ◽  
18Th Century ◽  
Leonardo Da Vinci ◽  
The Social ◽  
The Status ◽  
Almost All

Until the 18th century, the word “art” meant the product of the artisan (not the artist) and, by extension, also meant the product itself. Objects manufactured by craftsmen had, first of all, a useful function, although they might also have had a symbolic or aesthetic meaning. The concept of aesthetics is actually much older, considering the antiquity of Rome and Greece. And in Egypt, 3,500 years ago, at Saqqara, the first stone pyramid was engraved by scribes expressing their admiration for it.These artisans were famous for the quality of their work, for their genius in mastering their knowledge. One is reminded of Phidias in Athens, Michelangelo and Julius II, or Leonardo da Vinci and Francois the 1st.However, the social status of such artists was probably not very different from the status of other exceptional artisans in fields such as jewelry, metallurgy, clothing, music, etc. “Ĺart pour l'art,” a tenet which ignored the function of the object, arose only during the last century. In other words, almost all objects or artifacts in museums were originally devised and built to achieve a very specific and useful function.

scholarly journals Unpublished Manuscripts of Italian Bestiaries

PMLA ◽  
1905 ◽  
Vol 20 (2) ◽  
pp. 380-433 ◽  
Author(s):  
Kenneth McKenzie
Keyword(s):  
Thirteenth Century ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Yale University ◽  
Preliminary Work ◽  
History Of ◽  
The Subject ◽  
Unpublished Manuscripts ◽  
Work Done ◽  
Comprehensive Study

Before the history of Italian bestiary literature can be satisfactorily written, considerable preliminary work remains to be done. When Lauchert published his Geschichte des Physiologus (Strassburg, 1889), although he devoted a certain amount of space to the poets from the Sicilian school to Ariosto, he was not aware that any bestiaries earlier than that of Leonardo da Vinci existed in Italian prose. Three years later, Goldstaub and Wendriner, Ein Tosco-Venezianischer Bestiarius (Halle, 1892), published the text of a manuscript belonging to the Biblioteca Comunale at Padua, and also an account of seven other manuscripts, all of which are in Florentine libraries. This book (cited hereafter as G-W) is the most comprehensive study of the Italian bestiaries now available, and may safely be taken as the basis for further investigation. The present paper, based in large part on work done in the libraries of Florence, Naples and Paris, is offered as a contribution to the study of the subject, and will, it is hoped, be of value in indicating a large amount of material, including several important manuscripts, which was entirely unknown to Goldstaub and Wendriner. An important phase of the subject, namely, the use of bestiary material by the Italian poets of the thirteenth century, has been investigated by Dr. M. S. Garver, of Yale University, in a dissertation which he hopes to publish soon.

scholarly journals On the viscous theory of glacier motion. Part I. containing experiments on the flow of plastic bodies, and observations on the phenomena of lava streams

1851 ◽  
Vol 5 ◽  
pp. 550-550 ◽  
Keyword(s):  
Da Vinci ◽  
Narrow Channel ◽  
Leonardo Da Vinci ◽  
The Subject ◽  
Glacier Motion

The author adduces some new experiments in confirmation of his theory of the nature and causes of the motion of glaciers, and which present an analogy with the phenomena exhibited by the flow of masses of semifluid or viscous matter contained in a narrow channel, along which they move by the force of gravity; and also with the ripple marks on the surface of a stream of water when its course is impeded by obstacles. These latter phenomena, he remarks, were noticed and accurately described by Leonardo da Vinci. Analogies of a still more striking nature are presented by the appearance of streams of lava in their flow from volcanos and in the progress of their descent, which illustrate a great number of the phenomena of glacier motion, and corroborate the views of the author as to their nature and as to the laws they obey. Various quotations are given from authors who have been struck with this analogy, and who have pointed it out more or less circumstantially in the narratives of their travels in the neighbourhood of Etna and Vesuvius; to which the author adds some of his own observations on the lava from these mountains, which throw further light on the subject.

scholarly journals “Entertainment” as an art phenomenon in the context of Renaissance discourse

2021 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Middle Ages ◽  
Modern Society ◽  
Point Of View ◽  
The Body ◽  
Subject Field ◽  
Late Middle Ages ◽  
Collective Experience ◽  
The Subject ◽  
First Time ◽  
Cognitive Perspectives

The purpose of the article consists of exploring carnival as a form of “Entertainment” in Renaissance discourse. The research methodology consists in the application of analytical method - to determine the theoretical and methodological foundations of the study of the phenomenon of "Entertainment" in the discourse of Renaissance; formalization method - to formulate the concept of "Entertainment" within the subject field of art; we use historical and cultural method for studying the phenomenon of «Entertainment» as a form of individualization of collective experience on the example of carnival in the context of the Renaissance discourse. The scientific novelty of the work is that for the first time the essence of the phenomenon of “Entertainment” as a form of individualization of collective experience on the example of carnival in the context of the Renaissance culture. Conclusions. Since the late Middle Ages, the carnival has become a prominent phenomenon in the culture of laughter, offering an antithesis to the religious attitudes that monopolized culture and art. Carnival, as a form of «Entertainment» in the discourse of the Renaissance, contributes to the identification of laughter elements in the culture of the Renaissance and helps to determine the significance of the laughter aspects of socio-cultural processes for society as a whole. The body image, as the main image of the carnival, creates a tendency for organizing "mass laughter", that is, a category that is actively used in our time on the example of the KVN format, which has become all-encompassing in modern society. Carnival, from the point of view of the cognitive perspectives of historical and anthropological research, outlines the features of the mentality of a Renaissance person. The carnival, as a form of «Entertainment», created conditions for the individualization of the collective experience, which was reflected in the culture of laughter, that is, «another reality» at certain times every year. Carnival formulated a concentrated universalistic formula for life and historical process. A street style of speech and imagery was formed, which became the «implementation» of the opposition to the official culture of the Renaissance.

scholarly journals Mano y rostro. La filosofía de la expresión en Leonardo da Vinci y Marsilio Ficino

2019 ◽  
Vol 40 (2) ◽  
pp. 65-92
Author(s):  
Gianluca Cuozzo
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Marsilio Ficino ◽  
Homo Faber

El presente artículo se centra en Marsilio Ficino y Leonardo da Vinci. Ambos autores describen la producción humana de artefactos como principios transformadores que afectan el mundo a partir de un punto de vista tanto técnico como estético. En este sentido, manus y risus se convierten en bastiones de una antropología típicamente renacentista, según la cual el homo faber se eleva a ese estado divino que juega un importante papel en la filosofía de Nicolás de Cusa; mientras la mano humana es el principio transformador activo, la sonrisa es el signo de un trabajo cumplido. En suma, estos dos aspectos revelan un proceso de espiritualización de la realidad, i.e., la perfecta interpenetración de la belleza con la virtud y la verdad. Este trabajo explorará las similitudes entre los dos autores también en relación con el retrato Ginevra de’ Benci (1475-1478 ca.), de Leonardo da Vinci; una muy especial “sermón pintado” con el fondo del cuadro, siendo un tratamiento filosófico conciso en el que se lee “virtutem forma decorat”, fórmula que Ficino evoca en su Convivium.

scholarly journals Renaissance Futurities: Science, Art, Invention

2019 ◽  
Keyword(s):  
Early Modern ◽  
Media Studies ◽  
Art History ◽  
Da Vinci ◽  
Ethnic Studies ◽  
Leonardo Da Vinci ◽  
Modern World ◽  
Miguel De Cervantes ◽  
New Science ◽  
The Arts

Renaissance Futurities considers the intersections between artistic rebirth, the new science, and European imperialism in the global early modern world. Charlene Villaseñor Black and Mari-Tere Álvarez reconsider the work of Renaissance genius Leonardo da Vinci (1452–1519), prolific artist and inventor, and other polymaths such as philosopher Giulio “Delminio” Camillo (1480–1544), physician and naturalist Francisco Hernández de Toledo (1514–1587), and writer Miguel de Cervantes (1547–1616). This concern with futurity is inspired by the Renaissance itself, a period defined by visions of the future, as well as by recent theorizing of temporality in Renaissance, queer, and ethnic studies. This transdisciplinary collection is at the cutting edge of the humanities, the sciences, and the arts with contributions in history, art history, literature, media studies, mathematics, and medicine.

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