The sculptural group of St. Martin and the Beggar by Georg Raphael Donner, which was part of the eponymous altar in St. Martin’s Cathedral in Bratislava commissioned by the Primate Emericus Esterházy in 1733, is one of the most important works of art of the first half of the 18th century. This article aims to analyse the probable iconographic models for the Bratislava sculptural group, the iconographic type of St. Martin on horseback and the beggar in the context of the researched work of art, and the atypical elements of the sculptural group, in which authors have searched for specific meanings to this day.
{"title":"The Iconography of the Former Main Altar of St. Martin by Georg Raphael Donner in St. Martin‘s Cathedral in Bratislava","authors":"Katarína Orviská","doi":"10.31577/ars-2023-0014","DOIUrl":"https://doi.org/10.31577/ars-2023-0014","url":null,"abstract":"The sculptural group of St. Martin and the Beggar by Georg Raphael Donner, which was part of the eponymous altar in St. Martin’s Cathedral in Bratislava commissioned by the Primate Emericus Esterházy in 1733, is one of the most important works of art of the first half of the 18th century. This article aims to analyse the probable iconographic models for the Bratislava sculptural group, the iconographic type of St. Martin on horseback and the beggar in the context of the researched work of art, and the atypical elements of the sculptural group, in which authors have searched for specific meanings to this day.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"19 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139267542","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 article presents a comparative analysis of the neo-Romanesque churches in Inowrocław and Würzburg. The education, artistic career and publications of the designer of the Church of the An - nunciation of the Blessed Virgin Mary in Inowrocław, August Rincklake, as well as the architectural achievements of his younger brother, Wilhelm, proved to be important factors that shaped the church structure. Specific inspirations, correspondences and architectural references used in this monumental building have been identified. The discussion points include the westworks, the idea of the Saxon façade, other tower western structures and the encastellated building, and minor components, such as ornaments. The Church in Inowrocław has served to discuss distinctive features of the Romanesque and neo-Romanesque styles, the relationship between them, the principles governing them and the approach displayed around the year 1900 to the patterns that were distant in time and space. The point of comparison is the neo-Romanesque Church of St. Adalbero [ Adalberokirche ] in Würzburg to demonstrate numerous uses and the universal application of motifs borrowed from the system developed in proto-Romanesque and Romanesque Lombard architecture.
{"title":"The Neo-Romanesque Churches of the Annunciation of the Blessed Virgin Mary in Inowrocław and St. Adalbero in Würzburg – the Examples of References to Pre-Romanesque and Romanesque Architecture","authors":"Przemysław Waszak","doi":"10.31577/ars-2023-0009","DOIUrl":"https://doi.org/10.31577/ars-2023-0009","url":null,"abstract":"The article presents a comparative analysis of the neo-Romanesque churches in Inowrocław and Würzburg. The education, artistic career and publications of the designer of the Church of the An - nunciation of the Blessed Virgin Mary in Inowrocław, August Rincklake, as well as the architectural achievements of his younger brother, Wilhelm, proved to be important factors that shaped the church structure. Specific inspirations, correspondences and architectural references used in this monumental building have been identified. The discussion points include the westworks, the idea of the Saxon façade, other tower western structures and the encastellated building, and minor components, such as ornaments. The Church in Inowrocław has served to discuss distinctive features of the Romanesque and neo-Romanesque styles, the relationship between them, the principles governing them and the approach displayed around the year 1900 to the patterns that were distant in time and space. The point of comparison is the neo-Romanesque Church of St. Adalbero [ Adalberokirche ] in Würzburg to demonstrate numerous uses and the universal application of motifs borrowed from the system developed in proto-Romanesque and Romanesque Lombard architecture.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"1 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139267848","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":"Donátorské scény v Kostole sv. Juraja v Kostoľanoch pod Tribečom","authors":"Martin Vančo","doi":"10.31577/ars-2023-0010","DOIUrl":"https://doi.org/10.31577/ars-2023-0010","url":null,"abstract":"","PeriodicalId":31329,"journal":{"name":"ARS","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139269607","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}
Abstrakt Although the parish church is a frequent concept in domestic medievalist literature, it remains mainly within the framework of somewhat stereotypical ideas about the development of church organisation. Absent is a deeper reflection on what the parish church and the parish meant or could have meant in the different sections of the medieval period. At the same time, this is an interdisciplinary problem that affects art-historical research in many ways. The following text aims to offer a stimulus to such reflection. The first part of the paper outlines a brief view of the parish church as an institution that has been the subject of a long journey of historical development but which, despite its fundamental influence on the lives of people of all social groups, remained without a generally binding ecclesiastical-legal definition until the publication of the Code of Canon Law in 1983. The second part focuses on the issue of parish and branch churches. Many of these needed a justifying cause for their establishment, which most often was the long journey to an existing parish church. Specific examples are used to illustrate the highly differentiated functional content and interrelationships of the churches forming the so-called lower church organisation, i.e., the parish system. The intention is to show that this differentiated functional content is combined with an undefined period terminology, which ultimately also influences the archaeological and architectural-historical interpretations of the individual objects.
{"title":"Ďaleká cesta k farskému kostolu","authors":"Bibiana Pomfyová","doi":"10.31577/ars-2023-0012","DOIUrl":"https://doi.org/10.31577/ars-2023-0012","url":null,"abstract":"Abstrakt Although the parish church is a frequent concept in domestic medievalist literature, it remains mainly within the framework of somewhat stereotypical ideas about the development of church organisation. Absent is a deeper reflection on what the parish church and the parish meant or could have meant in the different sections of the medieval period. At the same time, this is an interdisciplinary problem that affects art-historical research in many ways. The following text aims to offer a stimulus to such reflection. The first part of the paper outlines a brief view of the parish church as an institution that has been the subject of a long journey of historical development but which, despite its fundamental influence on the lives of people of all social groups, remained without a generally binding ecclesiastical-legal definition until the publication of the Code of Canon Law in 1983. The second part focuses on the issue of parish and branch churches. Many of these needed a justifying cause for their establishment, which most often was the long journey to an existing parish church. Specific examples are used to illustrate the highly differentiated functional content and interrelationships of the churches forming the so-called lower church organisation, i.e., the parish system. The intention is to show that this differentiated functional content is combined with an undefined period terminology, which ultimately also influences the archaeological and architectural-historical interpretations of the individual objects.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139269363","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}
This article seeks new perspectives on one of Central Europe’s most important ensembles of late medieval art and architecture – the parish church of St. James in Levoča, where research on the fur-nishings as a system in sacred space has been hindered by the sparsity of written sources. By expanding the scope of enquiry to take in some unstudied sources from the Reformation period, it shows how a medieval topography and furnishings were retained and developed by a Lutheran congregation that proved unusually tolerant of traditional practices.
{"title":"Reformations of Medieval Art New Research on the Church of St. James in Levoča (Slovakia)","authors":"Tim Juckes","doi":"10.31577/ars-2023-0008","DOIUrl":"https://doi.org/10.31577/ars-2023-0008","url":null,"abstract":"This article seeks new perspectives on one of Central Europe’s most important ensembles of late medieval art and architecture – the parish church of St. James in Levoča, where research on the fur-nishings as a system in sacred space has been hindered by the sparsity of written sources. By expanding the scope of enquiry to take in some unstudied sources from the Reformation period, it shows how a medieval topography and furnishings were retained and developed by a Lutheran congregation that proved unusually tolerant of traditional practices.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139266886","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 is a contribution to the iconography of St. John the Almsgiver. The paper focuses on the copper engravings and the painting of Joseph Kurtz from the 18th century in Slovak collections, which depict St. John the Almsgiver distributing the alms. While writing the study, we gradually discovered that to explain the etchings and the painting, we need to examine the origins of this iconographic theme. It was confirmed that the form of the representative portrait of St. John Almsgiver originated in Byzantium. Byzantine psalter illuminators undoubtedly created the essential iconographic attributes with portrait features of the scene. However, it is also indisputable that the transfers and robberies of the saint‘s remains before and after 1204 contributed significantly to the cult of the saint in several places in the Latin West. An important factor in consolidating the cult was the saint‘s inclusion in the Golden Legend hagiographic collection. This collection‘s illustrated manuscripts and first prints undoubtedly influenced the composition of the iconographic scene of the distribution of alms by St. John the Almsgiver. The Hungarian king Matthias Corvinus, who received the entire body of St. John Almsgiver most probably based on the peace treaty, and his court had contributed to the extraordinary promotion of the cult of the saint. Thanks to the painted decoration of the chapel in Buda, where the remains of the saint were kept, visual representations inspired by the Golden Legend collection spread not only in the territory of today‘s Slovakia but also in several places in today‘s Poland. Only the paintings of the 16th and 17th centuries prioritized the iconographic scene of giving alms to such an extent that most of their elements were adopted by Gustav Adolf Müller. In the representative crypto portrait of Joseph Kurtz, the beggars are strikingly similar, as if they were a multiplication of the exact figure. If we accept such an interpretation, the question of the reason for such a procedure arises. A hypothesis could be made that the painting was a mixture between a representative portrait and a narrative image.
{"title":"Poznámky k ikonografii a ikonológii scény rozdávania milodarov sv. Jánom Almužníkom","authors":"Marián Zervan, Vratislav Zervan","doi":"10.31577/ars-2023-0013","DOIUrl":"https://doi.org/10.31577/ars-2023-0013","url":null,"abstract":"The study is a contribution to the iconography of St. John the Almsgiver. The paper focuses on the copper engravings and the painting of Joseph Kurtz from the 18th century in Slovak collections, which depict St. John the Almsgiver distributing the alms. While writing the study, we gradually discovered that to explain the etchings and the painting, we need to examine the origins of this iconographic theme. It was confirmed that the form of the representative portrait of St. John Almsgiver originated in Byzantium. Byzantine psalter illuminators undoubtedly created the essential iconographic attributes with portrait features of the scene. However, it is also indisputable that the transfers and robberies of the saint‘s remains before and after 1204 contributed significantly to the cult of the saint in several places in the Latin West. An important factor in consolidating the cult was the saint‘s inclusion in the Golden Legend hagiographic collection. This collection‘s illustrated manuscripts and first prints undoubtedly influenced the composition of the iconographic scene of the distribution of alms by St. John the Almsgiver. The Hungarian king Matthias Corvinus, who received the entire body of St. John Almsgiver most probably based on the peace treaty, and his court had contributed to the extraordinary promotion of the cult of the saint. Thanks to the painted decoration of the chapel in Buda, where the remains of the saint were kept, visual representations inspired by the Golden Legend collection spread not only in the territory of today‘s Slovakia but also in several places in today‘s Poland. Only the paintings of the 16th and 17th centuries prioritized the iconographic scene of giving alms to such an extent that most of their elements were adopted by Gustav Adolf Müller. In the representative crypto portrait of Joseph Kurtz, the beggars are strikingly similar, as if they were a multiplication of the exact figure. If we accept such an interpretation, the question of the reason for such a procedure arises. A hypothesis could be made that the painting was a mixture between a representative portrait and a narrative image.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"35 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139266953","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}
Pub Date : 2023-08-31DOI: 10.11606/issn.2178-0447.ars.2023.215316
Darby English, Leandro Muniz, Liliane Benetti
Tendo como pano de fundo histórico as manifestações contra a brutalidade policial dirigida às pessoas racializadas, Darby English detém-se, neste ensaio, em uma única pintura de Kerry James Marshall, Sem título (policial), de 2015, propondo, como método de análise, a descrição minuciosa de elementos formais, tais como a posição da figura no plano, seus trajes, as cores empregadas e outros tantos detalhes da cena. Ressaltando as ambiguidades e as indeterminações sustentadas pelo artista no trabalho, o autor formula questões cruciais sobre o sistema de representação vigente na arte e na cultura contemporâneas.
{"title":"O pintor e a polícia","authors":"Darby English, Leandro Muniz, Liliane Benetti","doi":"10.11606/issn.2178-0447.ars.2023.215316","DOIUrl":"https://doi.org/10.11606/issn.2178-0447.ars.2023.215316","url":null,"abstract":"Tendo como pano de fundo histórico as manifestações contra a brutalidade policial dirigida às pessoas racializadas, Darby English detém-se, neste ensaio, em uma única pintura de Kerry James Marshall, Sem título (policial), de 2015, propondo, como método de análise, a descrição minuciosa de elementos formais, tais como a posição da figura no plano, seus trajes, as cores empregadas e outros tantos detalhes da cena. Ressaltando as ambiguidades e as indeterminações sustentadas pelo artista no trabalho, o autor formula questões cruciais sobre o sistema de representação vigente na arte e na cultura contemporâneas.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"2015 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135989150","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}
Pub Date : 2023-08-31DOI: 10.11606/issn.2178-0447.ars.2023.192205
Felipe Eduardo Lázaro Braga
A forma estética originária do grafite e pixação – desenho/inscrição/assinatura – é sensivelmente tributária de seus imperativos performáticos sobre o território – driblar e superar os dispositivos de vigilância e disciplina da cidade. O processo de reconhecimento do grafite e da pixação nos museus e galerias tradicionais, via estratégias de transliteração estética, absorve esse duplo registro da linguagem, que se realiza não apenas no traço efetivamente grafitado – a imagem –, mas inclusive no desenvolvimento da ação de grafitar – a performance. Nesse sentido, as exposições de arte urbana elaboram projetos de curadoria que restituem às imagens, ainda que expostas no abrigo institucional, sua natureza agencial sobre o território, fazendo do grafite não um gênero alternativo de pintura, mas trânsito estético entre linguagens contemporâneas.
{"title":"Arte urbana, arte contemporânea","authors":"Felipe Eduardo Lázaro Braga","doi":"10.11606/issn.2178-0447.ars.2023.192205","DOIUrl":"https://doi.org/10.11606/issn.2178-0447.ars.2023.192205","url":null,"abstract":"A forma estética originária do grafite e pixação – desenho/inscrição/assinatura – é sensivelmente tributária de seus imperativos performáticos sobre o território – driblar e superar os dispositivos de vigilância e disciplina da cidade. O processo de reconhecimento do grafite e da pixação nos museus e galerias tradicionais, via estratégias de transliteração estética, absorve esse duplo registro da linguagem, que se realiza não apenas no traço efetivamente grafitado – a imagem –, mas inclusive no desenvolvimento da ação de grafitar – a performance. Nesse sentido, as exposições de arte urbana elaboram projetos de curadoria que restituem às imagens, ainda que expostas no abrigo institucional, sua natureza agencial sobre o território, fazendo do grafite não um gênero alternativo de pintura, mas trânsito estético entre linguagens contemporâneas.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135989515","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}
Pub Date : 2023-08-31DOI: 10.11606/issn.2178-0447.ars.2023.208151
Matheus Filipe Alves Madeira Drumond
Fernanda Gomes tem se destacado no cenário artístico nacional por apresentar um trabalho pouco dócil ao sistema que o contém. Nosso intento nesta reflexão será demonstrar como sua obra (ou melhor, suas exposições-obras), amplamente perpassada pelas pequenas percepções e pela atenção exaustiva, formula uma estratégia de recepção singular – distinta da fugacidade da atenção hodierna e da intensiva discursividade do campo contemporâneo das artes. A hipótese de uma recepção singular é amparada pela constante recusa em atribuir nomes a obras e exposições (corriqueiramente intituladas com seu próprio nome, mais por insuficiência que por intenção), a insistência em destituir o poder das interferências discursivas curatoriais, sem que com isso suplemente o campo semântico do trabalho com sua própria subjetividade e vida.
{"title":"Fernanda Gomes: eloquência do silêncio","authors":"Matheus Filipe Alves Madeira Drumond","doi":"10.11606/issn.2178-0447.ars.2023.208151","DOIUrl":"https://doi.org/10.11606/issn.2178-0447.ars.2023.208151","url":null,"abstract":"Fernanda Gomes tem se destacado no cenário artístico nacional por apresentar um trabalho pouco dócil ao sistema que o contém. Nosso intento nesta reflexão será demonstrar como sua obra (ou melhor, suas exposições-obras), amplamente perpassada pelas pequenas percepções e pela atenção exaustiva, formula uma estratégia de recepção singular – distinta da fugacidade da atenção hodierna e da intensiva discursividade do campo contemporâneo das artes. A hipótese de uma recepção singular é amparada pela constante recusa em atribuir nomes a obras e exposições (corriqueiramente intituladas com seu próprio nome, mais por insuficiência que por intenção), a insistência em destituir o poder das interferências discursivas curatoriais, sem que com isso suplemente o campo semântico do trabalho com sua própria subjetividade e vida.","PeriodicalId":31329,"journal":{"name":"ARS","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135987752","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：