Взгляд эпохи: как социальная история искусства изменила историю искусства итальянского Возрождения
Ce chapitre, dans un manuel novateur consacré aux images médiévales, analyse un des problèmes les plus complexes de la peinture médiévale, le rapport difficile entre les plans dans la composition picturale. Un seul exemple, décrit de manière détaillée, l'enluminure des Evangiles d'Otton III à Aix-la-Chappelle, permet de saisir les spécificités de l'art médiéval avant l'apparition de l'ainsi dite perspctive italienne.
These collected articles by Russian, European and American academics touch upon very significant issues linked to the problem of the memory in culture: memory and the mechanisms by which art functions; archievs, museums and collecting as strategies of memory; etymology, migration and transformation of subjects and images in Russian art of the early modern age; amnesia and distrcution of tradition; the theory of memory as the phylosophical concept and its influence in art; memory and methodology of art studies.
This manual proposes the most important problems and methods of study of medieval images.
The so-called Lady at her Toilette by Giulio Romano from the Moscow Pushkin State Museum of Fine Arts has been conventionally regarded as an imitation of famous Fornarina by Raphael. Social aspect of its origins have not been explored and its function has been defined only generally as a portrait or a depiction of “courtesan” or “mistress”, the issues of its possible patron and original context have not been assessed. Close examination of Lady at her Toilette’s distinct visual details dismisses the seeming similarities with frivolous female images of its to=ine known as belle and reveals strong affinities with painterly wedding epithalamia, which clearly indicates its own function as a wedding painting presenting Venus bestowing blessing upon a new bride. Established the work’s function in general, it has been attempted to define a possible patron of this wedding epithalamia. Giulio Romano’s artistic career shows his involvment to the wedding of the Duke of Mantua Federico II Gonzaga and Margherita Paleologa, which took place in 1531. As a court painter Giulio was responsible for major decorative works in the city and created, among other, the bride’s portrait (Royal Collection, Hampton Court, London). This portrait turns out to be the closest analogy to the Moscow “Lady” in terms of composition, style, painterly manner and even the facial features of women. This, along with other similarities, unequivocally indicates that they were created as a set — as a wedding set, that includes the portrait of young spouse and the allegorical depiction of Venus.
The article deals with a famous representation of Otto III in apotheosis together with the monk Liuthar, responsible for the execution of the beautiful Gospels-book, donated to the Aachen Chapel ca. 996. It opens with a methodological discussion of modern approaches to medieval art, and especially the applicability of the post-medieval notion of “space”, that the author proposes to substitute for “places” and “plans”. Operating with these notions, he gives a minute description of the miniature on two opposite pages as an unseparable, meaningful unity, where places, plans, figures, gestures are full of sens. This analysis allows to review some stereotyped interpretations of the main scene, especially the “exemplary” one by Ernst Kantorowicz, who claimed it to be at the origin of the much later theory of the king’s two bodies.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.