scholarly journals PAINTING TECHNOLOGY OF ICONS “CHRIST ENTHRONED” AND “BLESSED VIRGIN MARY AND BABY JESUS” (POKROVSKY CHURCH IN PRIORKA) PAINTED BY IVAN S. YIZHAKEVYCH. PROBLEM OF AUTHOR AND NON-AUTHOR RENEWALS

2019 ◽  
pp. 170-179
Author(s):  
Agneta Shashkova
Keyword(s):  
Comparative Analysis ◽  
Visible Light ◽  
Complex Analysis ◽  
Virgin Mary ◽  
Late Period ◽  
Visual Research ◽  
Painting Technique ◽  
Primary Layer ◽  
Blessed Virgin Mary ◽  
Painting Layer

This article is dedicated to features of the late period in the icon painting of Ivan S. Yizhakevych which coincides with the religion persecution in the USSR as well as features of the study of icons in functional churches.In this paper we have set out the complex analysis of nomadic icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” from Pokrovsky church in Priorka in Kyiv. By means of the visual research using the concentrated visible light and macro photography technical, technological and painting features of the icon painting have been specified.Based on the study of the painting layer features of the author icon painting style of Mr. Yizhakevych and stylistic features that are typical for his late creative period between 1940 and 1960 have been analyzed.Based on the comparative analysis between the above icons and other icons painted by Mr. Yizhakevych we have specified the attribution and considered the possibility of author icon finishing painting in a given period in order to return brightness to faded areas and restore partially lost ones. The possibility of repainting of separate parts of icons in order to specify dimensions of separate fragments or change in the compositional position of figures is also studied.In this paper we have specified typical techniques of the author style of Ivan S. Yizhakevych used by him for the primary layer of icons and author renewal and the assumption has been made that his students had likely helped him in preparation activities and painted parts of painting that are secondary according to their composition. Based on the analysis of the painting technique and features of Mr. Yizhakevych’s style the assumption have been made that the non-author finishing painting had been made approximately between 1990 and 2000 during one of the thorough repairs of the church.In this paper it has been established that the latter non-author renewals had significantly damaged the appearance of both icons by adding the rude and unprofessional performance to their separate elements which is not typical for the artist; this fact causes major difficulties when considering these icons to be integral works of Ivan S. Yizhakevych.This paper is illustrated by pictures of icons “Blessed Virgin Mary and Baby Jesus” and “Christ Enthroned” as well as their schematic images including the analysis of author and non-author renewals.

Iconostasis of the Church of the Assumption of the Blessed Virgin Mary in Nakonechne village - the most complete iconostasis ensemble of the XVI century

2019 ◽  
pp. 73-88
Author(s):  
Mariia Helytovych
Keyword(s):  
Virgin Mary ◽  
Xvii Century ◽  
Blessed Virgin Mary ◽  
History Of ◽  
First Time ◽  
The Church

The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century

IV.—On the Sculptured Doorways of the Lady Chapel of Glastonbury Abbey

Archaeologia ◽  
1890 ◽  
Vol 52 (1) ◽  
pp. 85-88 ◽  
Author(s):  
W.H. St. John Hope
Keyword(s):  
Virgin Mary ◽  
The West ◽  
Blessed Virgin Mary ◽  
Holy Place

At the west end of the great abbey church of SS. Peter and Paul at Glastonbury are the ruins of a chapel of very remarkable character.It was built on the site of a vetusta ecclesia dedicated to the Blessed Virgin Mary, and of very great antiquity, which was consumed by fire, together with the great church and nearly all the abbey buildings, in 1184.As the vetusta ecclesia, from its sanctity and the number of relics it contained, was a holy place much resorted to by pilgrims, its reconstruction was forthwith commenced, and carried out with such speed that “about 1186” it was ready for consecration by Reginald, bishop of Bath.

Review of Book: The Blessed Virgin Mary

1964 ◽  
Vol 82 (267) ◽  
pp. 159-160
Author(s):  
Ralph Russell
Keyword(s):  
Virgin Mary ◽  
Blessed Virgin Mary

scholarly journals Prilog poznavanju djelovanja Mateja Andrijina Moronzona*

Ars Adriatica ◽  
2016 ◽  
pp. 103
Author(s):  
Barbara Španjol-Pandelo
Keyword(s):  
Comparative Analysis ◽  
Virgin Mary ◽  
Main Role ◽  
Huge Number ◽  
General Acceptance ◽  
Parish Church ◽  
Archival Documents ◽  
First Time ◽  
Selection Of

Matteo Moronzon, a member of the Venetian family of woodcarvers, was mentioned for the first time in 1407 according to the present known archival documents. Probably after being trained in his father's workshop in Venice, he moved to Zadar with his family – his wife Francisca and sons Pietro and Francesco. In 1418 he undertook the commission of furnishing carved choir stalls for the cathedral of St. Anastasia in Zadar. Various archival documents testify that Matteo lived and worked in Zadar for many years. Therefore it can be assumed that he probably founded his own workshop in Zadar where his son Francesco was trained too. Apart from the attempt to reconstruct Matteo's life and career, the aim of this paper is to interpret one important woodcarving work of art preserved in situ: choir stalls in the former cathedral of Rab, today the arch parish church of the Assumption of the Blessed Virgin Mary in Rab. Without doubt Matteo was the master carver in the production of the choir stalls in Zadar. Since he lived in Zadar it was not unusual that he had the main role in carving the stalls. In Zadar the selection of motives is more balanced and there are no significant differences in the modelling of decorative elements. However, the question whether Matteo carved absolutely everything or he had assistants arises. Considering the amount of work that had to be done it must be assumed that he had assistants who participated in work and helped him to shape the stalls. However, in literature Matteo was considered the only and undisputed author of the choir stalls in Zadar, mostly because of the preserved document. The analysis of the choir stalls in Rab by Ivo Petricioli as well as their evident formal and stylistic similarities with the stalls from the cathedral in Zadar have led to the general acceptance of the hypothesis that they were carved at the workshop of Matteo Moronzon. However, a comprehensive comparative analysis that could confirm that hypothesis was still missing. The analysis of the details and the whole led to the overall conclusion that there were a huge number of similarities between the choir stalls in Rab and Zadar. Therefore it was concluded that Matteo was the principal designer of the choir stalls in Rab who also carved the best parts in Rab, while others, less successful parts, were made by his apprentices and assistants who at the time lived on the island of Rab. In this respect, if Matteo was accepted as the author of the choir stalls of the cathedral in Zadar he must also be accepted as the author of the choir stalls from the excathedral in Rab.

scholarly journals An Abbey as a Stronghold

2021 ◽  
Vol 17 (1) ◽  
pp. 229-271
Author(s):  
Hrvoje Kekez
Keyword(s):  
Virgin Mary ◽  
16Th Century ◽  
Defense System ◽  
Long Period ◽  
Blessed Virgin Mary ◽  
Strategic Role ◽  
Large Estate ◽  
Do So

The main goal of this paper is to analyze the strategic role of Cistercian abbey of Blessed Virgin Mary in Topusko (medieval Toplica) in anti-Ottoman defense during 16th century, especially because it is rather exceptional of usage sacral complex in anti-Ottoman defense system in rather long period. In order to do so it is determined and analyzed strategic importance of the monastic complex in anti-Ottoman defense line and the change of it according to ever going Ottoman conquest of new territories, i.e. approaching of the bordering line. Furthermore, the organization of defense of the rather large estate of Topusko abbey as well as the changes of the monastic fortifications are addressed. Even more, the role of the commendatory abbots of the abbey, as well the serves of the abbey, in the larger efforts in composing and functioning of the anti-Ottoman defense line are analyzed. Finally, the proximate time and context of the final abandoning of the former Cistercian abbey is determined.

scholarly journals Coloring in Short Prose by Yevhen Hutsalo

2019 ◽  
pp. 41-56
Author(s):  
Oleksandr Brayko
Keyword(s):  
Short Stories ◽  
Comparative Analysis ◽  
Visual Imagery ◽  
Real Situation ◽  
Painting Technique ◽  
Dominant Color ◽  
Color Harmony ◽  
The World ◽  
Claude Monet ◽  
Color And Light

The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.

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