{"title":"Obraz ako roz-hranie / The Picture as an Inter-face","authors":"Andrej Démuth","doi":"10.31577/ars-2024-0006","DOIUrl":"https://doi.org/10.31577/ars-2024-0006","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":"104 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141352179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Umenie a umelci v meste okolo roku 1800 / Art and Artists in the City around 1800","authors":"Barbara Hodásová","doi":"10.31577/ars-2024-0010","DOIUrl":"https://doi.org/10.31577/ars-2024-0010","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":"121 45","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141351863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The central motif of the essay is a critical examination of the archival turn in contemporary art. Through the lens of the notions such as “performativity”, “memory”, and theories devoted to interpreting the archive, the text builds on authors who have explored this phenomenon in contemporary art. The main focus of this essay is on the expanded documentary practice by Lucia Nimcová, her works relocating and reactivating archival photographs, in which I detect emancipatory potential that could possibly inspire those methodologies in art history that deal with the socialist past in Central and Eastern Europe.
{"title":"Performatívna pamäť, archív a fotografia. Niekoľko poznámok k tvorbe Lucie Nimcovej / Performative Memory, Archive and Photography. A Few Notes on the Work of Lucia Nimcová","authors":"Daniel Grúň","doi":"10.31577/ars-2024-0005","DOIUrl":"https://doi.org/10.31577/ars-2024-0005","url":null,"abstract":"The central motif of the essay is a critical examination of the archival turn in contemporary art. Through the lens of the notions such as “performativity”, “memory”, and theories devoted to interpreting the archive, the text builds on authors who have explored this phenomenon in contemporary art. The main focus of this essay is on the expanded documentary practice by Lucia Nimcová, her works relocating and reactivating archival photographs, in which I detect emancipatory potential that could possibly inspire those methodologies in art history that deal with the socialist past in Central and Eastern Europe.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"53 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141354988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sakrální architektura 16. a 17. století na Moravě. Mezi historismem, modernismem a anachronismem / Sacral Architecture of the 16th and 17th Centuries in Moravia. Between Historicism, Modernism and Anachronism","authors":"Ondřej Jakubec","doi":"10.31577/ars-2024-0003","DOIUrl":"https://doi.org/10.31577/ars-2024-0003","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":"135 32","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141351186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For decades, thinking about structures within the Viennese School of Art history has continued without comprehensively embracing and rethinking Wickhoff’s reflections on pictorial narrative and time. Sedlmayr’s notion of structure was associated with the author’s authoritarian emphasis on abandoning “vulgar time” and achieving a connection with timelessness, which limited his ability to understand the historical formalism established by Riegl. Otto Pächt shifted the focus of his thinking to the problem of visual language and its historical contexts. Creatively developing ideas of Viennese thinkers, Wolfgang Kemp elaborated notion of narrative structures, whose historical anchoring in the analysis of systems of reasoning and representation makes it possible to productively describe the hermeneutic paradoxes associated with developing a visual grammar of pictorial narrative.
{"title":"Medieval Narrative Structures and Visual Time (a historiographical outline) / Stredoveké naratívne štruktúry a vizuálny čas (historiografický náčrt)","authors":"Ivan Gerát","doi":"10.31577/ars-2024-0001","DOIUrl":"https://doi.org/10.31577/ars-2024-0001","url":null,"abstract":"For decades, thinking about structures within the Viennese School of Art history has continued without comprehensively embracing and rethinking Wickhoff’s reflections on pictorial narrative and time. Sedlmayr’s notion of structure was associated with the author’s authoritarian emphasis on abandoning “vulgar time” and achieving a connection with timelessness, which limited his ability to understand the historical formalism established by Riegl. Otto Pächt shifted the focus of his thinking to the problem of visual language and its historical contexts. Creatively developing ideas of Viennese thinkers, Wolfgang Kemp elaborated notion of narrative structures, whose historical anchoring in the analysis of systems of reasoning and representation makes it possible to productively describe the hermeneutic paradoxes associated with developing a visual grammar of pictorial narrative.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"125 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141352064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Apokalypsa a umění v českých zemích. „…a viděl jsem nové nebe a novou zemi…“","authors":"Peter Megyeši","doi":"10.31577/ars-2024-0008","DOIUrl":"https://doi.org/10.31577/ars-2024-0008","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":"134 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141351464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová’s work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová’s paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová’s Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová’s depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse .
{"title":"Formula extatického pátosu vo vyobrazeniach Ludoviky v tvorbe Veroniky Rónaiovej / The Formula of Ecstatic Pathos in Depictions of Ludovika in the Work of Veronika Rónaiová","authors":"Katarína Ihringová","doi":"10.31577/ars-2024-0004","DOIUrl":"https://doi.org/10.31577/ars-2024-0004","url":null,"abstract":"The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová’s work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová’s paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová’s Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová’s depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse .","PeriodicalId":31329,"journal":{"name":"ARS","volume":"6 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141350358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The theme of eternal returns in art and culture focuses on certain historically returning principles that survive in cultural society, even under new conditions, in a modified form. As one of them, the survival of ancient rhetoric through the centuries to the present day is one of them. The presented text shows the trajectories of how classical rhetoric was reactivated in the early modern period in theoretical writing on art and functionally applied to contemporary visual (especially portrait) practice. It also points to the internal parallels between the effort of German and Netherlandish painters and theorists of art to emphasize the persuasive necessity of certain forms of dynamic movement in the picture to Aby Warburg’s much the same ambition to identify such movement, energizing and spiritual patterns (pathos formulas) in his paintings. Last but not least, the contribution opens a new field of research into the experience of Warburgian pathos formulas in early modern portraiture.
{"title":"Portrét a rétorika. Na margo vzťahov a súvislostí medzi rečníckymi ozdobami a formulami pátosu v ranonovovekej portrétnej teórii a praxi / Portrait and Rhetoric. On the Relationships and Connections Between Rhetorical Embellishments and Formulas of Pathos","authors":"Ingrid Halászová","doi":"10.31577/ars-2024-0002","DOIUrl":"https://doi.org/10.31577/ars-2024-0002","url":null,"abstract":"The theme of eternal returns in art and culture focuses on certain historically returning principles that survive in cultural society, even under new conditions, in a modified form. As one of them, the survival of ancient rhetoric through the centuries to the present day is one of them. The presented text shows the trajectories of how classical rhetoric was reactivated in the early modern period in theoretical writing on art and functionally applied to contemporary visual (especially portrait) practice. It also points to the internal parallels between the effort of German and Netherlandish painters and theorists of art to emphasize the persuasive necessity of certain forms of dynamic movement in the picture to Aby Warburg’s much the same ambition to identify such movement, energizing and spiritual patterns (pathos formulas) in his paintings. Last but not least, the contribution opens a new field of research into the experience of Warburgian pathos formulas in early modern portraiture.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"142 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141350752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Romanesque portal of the church of St. Aegidius in Ilija near Banská Štiavnica, which dates back to 1254, is a unique architectural and sculptural work, and its significance transcends the borders of medieval Hungary. Andrej Kmeť and Václav Mencl significantly deepened the knowledge about the history of the portal and its stylistic classification as well as historical research and restoration from the recent period. The portal shows common features with the so-called Norman style spreading from Western Europe to its eastern parts, which persisted until the middle of the 13th century. The architec - ture of three-recessed jambs with inserted columns with pear-shaped profiling of the corners of the recesses passing into an entire arch above the tympanum with a three-circle border is complemented by rich sculptural equipment of capitals and cornices. The asymmetry of the relief decor forms on the northern and southern parapets follows a distinctive iconographic program unique even within the European context. The capitals of the northern lintel with zoomorphic motifs of dragons united by one head, the heads of outcasts incorporated into a tangle of vegetation, represent the world of diabolical powers attacking the human soul in an attempt to seize it. In contrast, the southern jamb is decorated with a balanced composition of double-row tongue leaves and a cornice capitalising paradise in its harmonious expression. The two linings are a materialized expression of instruction serving as the Biblia pauperum, one of the most important missions of medieval art.
{"title":"Románsky portál kostola sv. Egídia v Iliji Príspevok k interpretácii jeho ikonografického programu","authors":"Adriana Reťkovská","doi":"10.31577/ars-2023-0011","DOIUrl":"https://doi.org/10.31577/ars-2023-0011","url":null,"abstract":"The Romanesque portal of the church of St. Aegidius in Ilija near Banská Štiavnica, which dates back to 1254, is a unique architectural and sculptural work, and its significance transcends the borders of medieval Hungary. Andrej Kmeť and Václav Mencl significantly deepened the knowledge about the history of the portal and its stylistic classification as well as historical research and restoration from the recent period. The portal shows common features with the so-called Norman style spreading from Western Europe to its eastern parts, which persisted until the middle of the 13th century. The architec - ture of three-recessed jambs with inserted columns with pear-shaped profiling of the corners of the recesses passing into an entire arch above the tympanum with a three-circle border is complemented by rich sculptural equipment of capitals and cornices. The asymmetry of the relief decor forms on the northern and southern parapets follows a distinctive iconographic program unique even within the European context. The capitals of the northern lintel with zoomorphic motifs of dragons united by one head, the heads of outcasts incorporated into a tangle of vegetation, represent the world of diabolical powers attacking the human soul in an attempt to seize it. In contrast, the southern jamb is decorated with a balanced composition of double-row tongue leaves and a cornice capitalising paradise in its harmonious expression. The two linings are a materialized expression of instruction serving as the Biblia pauperum, one of the most important missions of medieval art.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"11 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139269502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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