Joanna I of Anjou (1343–1382)

Encyclopedia ◽  
2021 ◽  
Vol 1 (4) ◽  
pp. 1303-1311
Author(s):  
Paola Vitolo
Keyword(s):  
Illuminated Manuscripts ◽  
Ruling Class ◽  
The Public ◽  
South Italy ◽  
Symbolic Representations ◽  
Works Of Art ◽  
Explicit Reference ◽  
Symbolic Image ◽  
Art And Architecture ◽  
The Church

Joanna I of Anjou (1325–1382), countess of Provence and the fourth sovereign of the Angevin dynasty in south Italy (since 1343), became the heir to the throne of the Kingdom of Sicily, succeeding her grandfather King Robert “the Wise” (1277–1343). The public and official images of the queen and the “symbolic” representations of her power, commissioned by her or by her entourage, contributed to create a new standard in the cultural references of the Angevin iconographic tradition aiming to assimilate models shared by the European ruling class. In particular, the following works of art and architecture will be analyzed: the queen’s portraits carved on the front slabs of royal sepulchers (namely those of her mother Mary of Valois and of Robert of Anjou) and on the liturgical furnishings in the church of Santa Chiara in Naples; the images painted in numerous illuminated manuscripts, in the chapter house of the friars in the Franciscan convent of Santa Chiara in Naples, in the lunette of the church in the Charterhouse of Capri. The church of the Incoronata in Naples does not show, at the present time, any portrait of the queen or explicit reference to Joanna as a patron. However, it is considered the highest symbolic image of her queenship.

scholarly journals Spesialisering eller samvirke? Om skulptur og arkitektur i gjenreisnings- og vekstårene etter andre verdenskrig

Nordlit ◽  
2015 ◽  
pp. 107
Author(s):  
Svein Aamold
Keyword(s):  
Second World War ◽  
Individual Autonomy ◽  
World War ◽  
The Public ◽  
Works Of Art ◽  
Artistic Values ◽  
Mies Van Der Rohe ◽  
Art And Architecture ◽  
Walter Gropius ◽  
Second World

<p>One of the characteristics of modernist art and architecture is the insistence on autonomy. What happens if the two media are combined? Will they activate new artistic values – or will their insistence on individual autonomy lead to a differentiation which negates any true dialogue bearing on their status as works of art? These questions are discussed with references to sculptures by Georg Kolbe, Antoine Pevsner, Barbara Hepworth, Jean Arp, Arnold Haukeland and Ramon Isern; and the architecture of Ludwig Mies van der Rohe, Walter Gropius and Erling Viksjø. Also central to these topics are the public debates between architects, sculptors and architectural historians in Europe and America during the first decades after the Second World War. The issues regarding a possible integration of sculpture and architecture were highly contested during these years of optimism and economic growth. For some, the idea of a union between the two media proved to be an ideal that was perhaps never fully accomplished. Many sculptors, however, wanted to create works intended for public spaces, whether in architectural urban settings or in landscapes. Among the architects, the opinions differed from a refusal to include any works of art as part of their buildings, to those who involved in collaborative projects with artists. Others maintained that a new spatial unity could be achieved based on joint efforts on equal terms between sculptors and architects.</p>

scholarly journals Il mercato antiquariale nella Venezia di Ruskin: l’arte medievale in Germania

2020 ◽  
Author(s):  
Michela Agazzi
Keyword(s):  
National Level ◽  
High Standard ◽  
The Public ◽  
Long Period ◽  
Byzantine Art ◽  
Works Of Art ◽  
National Museums ◽  
Under Construction ◽  
The City ◽  
The Church

Ruskin made his first trips to Venice when the city was under the Austrian domination, a long period which witnessed the dispersion of many Venetian medieval objects. These objects became of interest to a market which had to meet several requests, including not only those of private collectors, amateurs and foreign tourists looking for “souvenirs”, but also high-standard commissions aimed at creating museums and evocative places. This is the case with the massive purchase by Frederick William of Prussia, in the 1840s, of some ancient medieval sculptures in Italy which would become an important core in the medieval and Byzantine art sections of national museums under construction. Among these sculptures we can find an interesting group of Venetian masterpieces all bought from the same Venetian trader (Pajiaro). Frederick William’s brother as well, Charles, bought several Venetian works of art to replicate a Venetian cloister in the Glienicke Palace. Again: the Church of Peace in Potsdam is adorned with a mosaic bought in Murano, once part of the demolished Saint Cyprian Church. Fragments and entire works of art make up collections intended for the public and its education, or for the embellishment of neo-medieval or picturesque buildings, that was a pillage going in the opposite direction ofRuskin’s interests. His eye and his hand gave us the graphic and visual documentation of a heritage in context. His writings are characterized by the attention to each and every fragment as the witness of a manner of doing which is also history. Some traces of the exportation of medieval works of art can be found in Venetians’ reaction, Seguso’s first of all. In their writings and following actions we can appreciate a greater attention and responsibility for an heritage that will be perceived as an element of their identity. After the annexation to Italy, although this market and sales continued to exist, we witness not only a new dynamic which gives more importance to the restoration of buildings relevant on a national level (such as Piazza San Marco and the Doge’s Palace) or on a civil level (the Fondaco dei Tedeschi), but also the establishment of museums where the fragments emerged from the restoration and decontextualized statues can find their place. All of this has been accomplished in the name of a new spirit and of an attention of whom Ruskin has been the main promoter and protagonist.

Censorship of art books in the Soviet Union and its effect on the arts and on art libraries

1999 ◽  
Vol 24 (1) ◽  
pp. 4-10 ◽  
Author(s):  
Olga Sinitsyna
Keyword(s):  
Soviet Union ◽  
General Circulation ◽  
The Public ◽  
Foreign Literature ◽  
Works Of Art ◽  
The Arts ◽  
The Soviet Union ◽  
Original Works ◽  
State Library ◽  
Art And Architecture

Although official censorship in the Soviet Union ceased over ten years ago, the effects in art and art libraries are still felt. Censored books were marked with a hexagon and relegated to closed stacks, which for many years were off limits to the public and library staff alike. Some of the banned material in the All-Russia State Library for Foreign Literature is analysed here in an attempt to establish the reason why certain items were seen by the authorities as too harmful to be acceptable for general circulation. The fate of the second “enemy” perceived by the Soviet censors, the original works of art and architecture, is also described.

The Samarin Family and the Parish Question in the Russian Empire. 1860s–1910s

2019 ◽  
Vol 54 ◽  
pp. 235-246
Author(s):  
Alexey L. Beglov
Keyword(s):  
Twentieth Century ◽  
Russian Empire ◽  
Public Discussion ◽  
The Public ◽  
The Social ◽  
Church Life ◽  
The Russian Empire ◽  
In The Beginning ◽  
The Church ◽  
Do So

The article examines the contribution of the representatives of the Samarin family to the development of the Parish issue in the Russian Empire in the late 19th and early 20th centuries. The issue of expanding the rights of the laity in the sphere of parish self-government was one of the most debated problems of Church life in that period. The public discussion was initiated by D.F. Samarin (1827-1901). He formulated the “social concept” of the parish and parish reform, based on Slavophile views on society and the Church. In the beginning of the twentieth century his eldest son F.D. Samarin who was a member of the Special Council on the development the Orthodox parish project in 1907, and as such developed the Slavophile concept of the parish. In 1915, A.D. Samarin, who took up the position of the Chief Procurator of the Most Holy Synod, tried to make his contribution to the cause of the parish reforms, but he failed to do so due to his resignation.

Mechanisms for Unity

2018 ◽  
Author(s):  
Samuel K. Cohn, Jr.
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
Black Death ◽  
Men And Women ◽  
The Poor ◽  
Works Of Art ◽  
The Face ◽  
The Church

This chapter investigates changes in mentalities after the Black Death, comparing practices never before analysed in this context—funerary and labour laws and processions to calm God’s anger. While processions were rare or conflictual as in Catania and Messina in 1348, these rituals during later plagues bound communities together in the face of disaster. The chapter then turns to another trend yet to be noticed by historians. Among the multitude of saints and blessed ones canonized from 1348 to the eighteenth century, the Church was deeply reluctant to honour, even name, any of the thousands who sacrificed their lives to succour plague victims, physically or spiritually, especially in 1348: the Church recognized no Black Death martyrs. By the sixteenth century, however, city-wide processions and other communal rituals bound communities together with charity for the poor, works of art, and charitable displays of thanksgiving to long-dead holy men and women.

scholarly journals The Metamorphosis of Written Devotion in the Age of Vatican II (c. 1948–c. 1998) in Hungary—Guestbooks in Hungarian Marian Shrines

Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 235
Author(s):  
Krisztina Frauhammer
Keyword(s):  
20Th Century ◽  
Vatican Ii ◽  
Virgin Mary ◽  
Combined Effect ◽  
Public Realm ◽  
The Public ◽  
Written Form ◽  
Personal Prayer ◽  
The Church

This article presents the Hungarian manifestations of a written devotional practice that emerged in the second half of the 20th century worldwide: the rite of writing prayers in guestbooks or visitors’ books and spontaneously leaving prayer slips in shrines. Guestbooks or visitors’ books, a practice well known in museums and exhibitions, have appeared in Hungarian shrines for pilgrims to record requests, prayers, and declarations of gratitude. This is an unusual use of guestbooks, as, unlike regular guestbook entries, they contain personal prayers, which are surprisingly honest and self-reflective. Another curiosity of the books and slips is that anybody can see and read them, because they are on display in the shrines, mostly close to the statue of Virgin Mary. They allow the researcher to observe a special communication situation, the written representation of an informal, non-formalised, personal prayer. Of course, this is not unknown in the practice of prayer; what is new here is that it takes place in the public realm of a shrine, in written form. This paper seeks answers to the question of what genre antecedents, what patterns of behaviour, and which religious practices have led to the development of this recent practice of devotion in the examined period in Hungarian Catholic shrines. In connection with this issue, this paper would like to draw attention to the combined effect of the following three factors: the continuity of traditions, the emergence of innovative elements and the role of the church as an institution. Their parallel interactions help us to understand the guestbooks of the shrines.

A Catholic Inclusive Approach to Homosexuality in Nigeria

2018 ◽  
Vol 74 (4) ◽  
pp. 396-408
Author(s):  
Daniel Ude Asue
Keyword(s):  
Catholic Church ◽  
Social Teaching ◽  
Same Sex ◽  
Same Sex Marriage ◽  
The Public ◽  
Public Debates ◽  
Inclusive Approach ◽  
Inclusive Society ◽  
The Church ◽  
The Catholic Church

This essay discusses Same-Sex Marriage Prohibition Bill in Nigeria, with a focus on the contribution of the Nigerian Catholic Church to the law. Though the Catholic Church in Nigeria did not actively contribute towards the public debates about homosexuality that resulted into the Same-Sex Marriage Prohibition Bill it nevertheless welcomed the bill. However, the official teachings of the Catholic Church and elucidations from the Catholic Bishops Conference of Nigeria could potentially contribute to creating an inclusive society. In what way can we potentially utilize the principles of Catholic Social Teaching to make room for an inclusion of homosexual persons in the life of the church and in society?

New protests in Chile

1982 ◽  
Vol 11 (6) ◽  
pp. 17-19
Author(s):  
Malcolm Coad
Keyword(s):  
Human Rights ◽  
Unemployment Rate ◽  
Foreign Debt ◽  
Public Servants ◽  
The Public ◽  
Economic Miracle ◽  
The World ◽  
Per Capita ◽  
National Trade ◽  
The Church

Chile's military regime in 1982 celebrated its ninth anniversary to the accompaniment of the most widespread and publicly expressed opposition since the coup of 11 September 1973. The collapse of its much-vaunted ‘economic miracle’ … most painfully demonstrated by devastated national industries, an unemployment rate of 25%, and a foreign debt estimated by some economists as the highest per capita in the world … has brought criticism from even the most ardent supporters of General Pinochet. As legal labour representatives became more vocal, leaders of the largest union federation, the National Trade Union Co-ordinating Body (CNS), were jailed, while in February the outspoken President of the Public Servants Union, Tucapel Jimenez, was found dead and mutilated by a roadside near Santiago. In the first six months of this year 837 people were charged with political offences, an increase of more than a third over the same period in 1981, while thousands more were detained on suspicion and reports of torture increased. Relations between the regime and the Church worsened, despite the latter's reining in of some of its human rights activity.

Religious Art and Architecture in 18th-Century Europe

2021 ◽  
Author(s):  
Sean DeLouche
Keyword(s):  
French Revolution ◽  
18Th Century ◽  
Cultural Tradition ◽  
Religious Art ◽  
Spiritual Power ◽  
Grand Tour ◽  
Gothic Revival ◽  
Works Of Art ◽  
The Arts ◽  
Art And Architecture

The 18th century was an era of transition for the arts and religion. Monarchs continued to commission religious art and architecture for a variety of reasons, including fulfillment of vows, expressions of faith and piety, and celebrations of dynastic power. The period saw simultaneous trends toward sumptuous decoration and sober display, as well as the rise of new artistic styles, including the Rococo, Neoclassicism, and the Gothic Revival. The Grand Tour brought many northern European Protestants to the seat of Catholicism. Protestant attitudes toward “popish” art softened in the 18th century, due in part to the increasing contact between Catholic and Protestant culture in Rome and to the perception that Catholicism was no longer a plausible threat. As the temporal and spiritual power of Rome declined in the 18th century, the papacy sought to reestablish itself as a cultural authority. The papacy embellished Rome with a number of archaeological and architectural initiatives, linking the popes with classical civilization and casting themselves as the custodians of the shared Western cultural tradition. With a growing art market and the consumer revolution, the populace had expanding access to religious imagery, from fine religious canvases collected by Catholic and Protestant elites, to reproducible prints that were available to nearly every member of society. However, the Enlightenment brought a profound questioning of religion. Religious works of art faced a loss of context in private displays and in the official Salon exhibitions, where they were intermixed with secular and erotic subjects and judged not on the efficacy of their Christian message or function but rather on aesthetic terms in relation to other works. The century ended with the French Revolution and brought violent waves of de-Christianization and iconoclasm. In order to save France’s Christian heritage, religious works of art had to be stripped of their associations with church and crown.

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