Making the Secret Uncomfortable

2018 ◽  
pp. 424-434
Author(s):  
Christophe Bident
Keyword(s):  
The Public ◽  
Works Of Art ◽  
Public Persona

Addresses Blanchot’s fraught relationship with the public persona expected of a writer: his declined interview requests, the lack of photos available until several were published in the 1980s. These are linked to his important thinking around anonymity and the sovereign status of works of art or literature.

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

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 References to Gauguin paintings in Somerset Maugham’s The moon and sixpence

Literator ◽  
2014 ◽  
Vol 35 (1) ◽  
Author(s):  
Laurence Wright
Keyword(s):  
The Novel ◽  
The Moon ◽  
The Public ◽  
Paul Gauguin ◽  
Works Of Art ◽  
Verbal Descriptions

It has not before been noticed that in describing works of art painted by his fictional anti-hero,Charles Strickland, in the novel The moon and sixpence, which is loosely based on the life of Paul Gauguin, Somerset Maugham drew on actual works by Gauguin in his verbal descriptions. Sometimes the references are to specific paintings, at others to phases in his work. For readers familiar with Gauguin’s artistic output, his writings on art and his biography, the effect of this insistent visual ‘quotation’ is to create a disturbing sense of aesthetic dissonance, in that it becomes difficult to accept the inarticulate, surly, impassioned but utterly grim and joyless figure of the fictional Charles Strickland as the source of these vivifying paintings, which possess their own real history and provenance. There is nothing in Strickland of Gauguin’s child-like zest for life, his exuberance, his fantasies, his extrovert willingness to explain his art to friends and the public through fascinating if deeply unreliable writings. The reader must either attempt to blot all knowledge of Gauguin and his art from consciousness, there by denying that Maugham is ‘quoting’ Gauguin’s oeuvre, or else submit to an intolerable level of fictional incredulity and disbelief.

scholarly journals WYBRANE ZAGADNIENIA WŁASNOŚCI ZABYTKÓW I DZIEŁ SZTUKI W PRAWIE PRL-U

2016 ◽  
Vol 11 (2) ◽  
pp. 171 ◽  
Author(s):  
Alicja Jagielska-Burduk
Keyword(s):  
Cultural Heritage ◽  
Public Interest ◽  
Legal Status ◽  
Private Property ◽  
Cultural Property ◽  
Future Generations ◽  
The Public ◽  
Common Heritage ◽  
Works Of Art ◽  
The Common

LEGAL STATUS OF CULTURAL PROPERTY AND WORKS OF ART IN THE PRL Summary The article deals with the legal status of works of art and cultural property in the Polish legislation during communism period. Classifying those objects as private property was considered as a very difficult task, because of their material value and the public interest in saving them for future generations. The strict limitations of individuals property were perceived as unusual and as a result a new sort of property – the private cultural property was distinguished. Moreover, the concepts of the common heritage and res extra commercium could be observed in the light of the PRL ideas. It should be emphasized that the above mentioned theories for improving cultural heritage regulations are the most popular in the nowadays’ international discussion.

The Role of Writing and Sociability for the Establishment of a Persona

2021 ◽  
pp. 195-210
Author(s):  
Anne Pollok
Keyword(s):  
Gender Roles ◽  
Mutual Exchange ◽  
Self Reflection ◽  
The Public ◽  
Traditional Gender Roles ◽  
Public Persona ◽  
One Step ◽  
Self Formation

This chapter examines the various strategies of intellectual self-formation by female intellectuals. While Henriette Herz created the public persona of the nurturing muse in her salon and established the idea of mutual exchange between the sexes, Rahel Varnhagen took the idea of self-reflection in the eyes of others one step further and, together with her husband, created a monument of remembrance with her collection of letters, fashioning the modern persona as fundamentally constituted through her exchange with others. Bettina von Arnim, finally, had no qualms using the most prominent poet, Goethe, as a prop in her writings, exercising the subversive power of remembrance to establish herself. Even though all these strategies build on the (male) other, they showcase the potential to subvert traditional gender roles.

Prologue

2020 ◽  
pp. 1-7
Author(s):  
Dan P. McAdams
Keyword(s):  
Social Psychology ◽  
19Th Century ◽  
Evidence Based ◽  
Donald Trump ◽  
Human Personality ◽  
The Public ◽  
Inner Self ◽  
Public Persona ◽  
Discrete Moment ◽  
The Moment

The prologue introduces this psychological interpretation of Donald Trump’s life through the lens of Robert Louis Stevenson’s 19th-century novel, The Strange Case of Dr. Jekyll and Mr. Hyde. Whereas Stevenson’s story famously illustrated the split duality of human personality, the strange case of Donald Trump suggests a startling reversal: There is no duality: Trump is all Hyde, and no Jekyll. In the strange case of Donald Trump, there is no artifice, no hidden inner self behind the public persona. Trump is completely present in the moment, which is the psychological key to understanding his overwhelming strangeness. He is a man without an inner story, a primal force that moves from one discrete moment in life to the next, with no narrative build-up, no story arc. The prologue introduces the book as an evidence-based and objective analysis of Trump’s life and his personality, drawing extensively upon contemporary research and theory in personality, developmental, and social psychology.

Arthur Segal: picture lending and an artist’s life

1990 ◽  
Vol 15 (2) ◽  
pp. 10-14 ◽  
Author(s):  
Horst Dietze
Keyword(s):  
Public Library ◽  
London Borough ◽  
The Public ◽  
Alternative Concept ◽  
Experimental Scheme ◽  
Works Of Art ◽  
Lending Institutions

For much of his life the Rumanian-born artist Arthur Segal championed the cause of picture lending for the benefit of the public and as a means of helping artists to earn a living. In Germany in the mid-1920s, Segal put forward his plans for lending institutions for works of art, akin to lending libraries for books. Widespread support was not forthcoming, and an experimental scheme organised by an artists’ association in Berlin ceased in 1927. Segal could give only qualified support to an alternative concept of hire purchase. Arthur Segal settled in England in 1936; some years after his death, his ideas contributed to the devising of an art loan scheme, launched by the London Borough of Holborn public library, which featured the work of local artists. Segal deserves to be remembered; his life and achievements have been celebrated by exhibitions in Berlin and Cologne, and the following article has been translated into English so that his ideas and endeavours can be more widely appreciated.

Pages from the diary of an art department in Denmark

1985 ◽  
Vol 10 (2) ◽  
pp. 80-83
Author(s):  
Gunhild Leth Andersen ◽  
Sissel Schultz ◽  
Claus Christensen
Keyword(s):  
Public Libraries ◽  
Audiovisual Material ◽  
The Public ◽  
Works Of Art ◽  
Art Departments

The art department of the Gladsaxe Bibliotek, near Copenhagen, is one of several art departments in public libraries, and one of the art libraries created in Denmark as a result of the Public Libraries Act of 1964 and two subsequent reports, in 1967 and 1971, on the provision of audiovisual material under the terms of the new Act. In addition to providing books and journals, these art libraries lend slides, posters, and original prints, and mount exhibitions of works of art by local and other artists. The librarians concerned have formed a subsection of the Danish Library Association, the ‘Faggruppen for kunstbibliotekarer’ (known as ‘Kunstfaggruppen’) and these ‘diary pages’originally appeared, in Danish, in the group’s newsletter Medd. Blade no. 3, 1983, pp 7-9. For further reading, see the Art Libraries Journal vol. 6, no. 3, Winter 1981, pp 3-12.

The Protection of British Heritage: Woburn Abbey and The Three Graces

1996 ◽  
Vol 5 (2) ◽  
pp. 269-290
Author(s):  
Sara E. Bush
Keyword(s):  
Subsequent Treatment ◽  
Cultural Property ◽  
Historic Buildings ◽  
The Public ◽  
Works Of Art ◽  
The Relationship

SummaryThis article describes the removal of Canova's sculpture, The Three Graces, from Woburn Abbey and the British laws that determined its subsequent treatment and ownership. In this case, the group of laws intended to protect the integrity of Woburn Abbey's Sculpture Gallery was deemed to be less important than the goal of retaining the sculpture within the country. It is therefore necessary to examine the relationship between the object and the building and the effectiveness of the laws designed to preserve objects and buildings for the benefit of the public. This article examines the implications of the laws regulating the preservation of historic buildings and the export of works of art for definitions of cultural property and national patrimony.

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