Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 5

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  MURALS
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

'FANTASIOSO FRESCANTE'. AN INTERPRETATION OF THE MURALS OF ANDREA LANZANI AT SLAVKOV U BRNA (AUSTERLITZ)

100%
Zapletalova J.
Umění (Art)
|
2007
|
vol. 55
|
issue 2
120-132
EN
Based on archival material - the contract between Andrea Lanzani and Count Kounic for the execution of a series of paintings and the appended sketches with the dimensions and shapes of the areas to be painted on - the first part of this text reconstructs the course of the painting work done at Slavkov Castle, dates it and describes the painter's travels between Slavkov and Vienna. Attention centres mostly, however, on the iconographic interpretation of the entire cycle of Lanzani's murals. The text contravenes previous interpretations of the Marina Dell'Omo paintings as a cycle of profound moral and didactic significance derived from Boethius' 'De Consolatione Philosophiae'. In contrast, it reinterprets the paintings in the context of the sculptural ornamentation of the gardens by Giovanni Giulani and the painted decorations (which have not been preserved) of the garden pavilion as a cycle of paintings celebrating themes of love: an allegory of female beauty, showcasing the power of love along with Fortuna in love bound tightly with the course of nature and its cyclical character, which is to be found in the northern half of the castle wing. At the same time, archival material has newly been made accessible which documents that the literary source used by the painter for the decoration of the garden's 'casino' was the poem 'Avenimenti amorosi di Psiche' by Ercole Udine. Lanzani's manuscript provides a detailed description of the subject matter of the paintings for the garden pavilion and thus points to the existence of a unified conception connecting the paintings and sculptures adorning the gardens of Slavkov Castle on the theme of Amor and Psyche. For this reason, we perceive Slavkov Castle and its decorations from the turn of the 17th and 18th centuries as the Moravian country residence of Count Kounic rather than as his representative palace. This building, with its ornamental programme, was a fulfilment of traditional theory, highlighting decorum in the relationship between the structure's function and its ornamentation according to older treatises, allowing 'tutte le seduzioni della leggiadria e del diletto' for villas and summer residences. In addition, the article furnishes two drawings discovered at the Biblioteca Ambrosiana in Milan which served as preparatory sketches for the Slavkov paintings.
2

NÁSTĚNNÉ MALBY V CHRÁMU MATKY BOŽÍ PŘED TÝNEM Z DOBY VÁCLAVA IV.

88%
Peroutková J.
ARS
|
2018
|
vol. 51
|
issue 1-2
33 – 41
EN
The Church of Our Lady before Týn is famous for its collection of medieval sculptures. Although these are very popular among researchers, murals from the era of Wenceslaus IV remained unnoticed. Based on the analysis of their form and style, the yet unpublished wall paintings are dated to belong to the era of Wenceslaus II. The murals demonstrate an immediate reflection of contemporary artistic and iconographic tendencies coming from the circle composed of the royal court, Church and monastic background as well as of the most affluent old-town patricians.
3

Atdzimusais Rigas doma ziemelu priekshalles viduslaiku gleznojums

88%
Grosmane E.
Makslas Vesture un Teorija
|
2012
|
vol. 15
5-14
EN
Very few people knew and could believe that an excellent medieval painting might be hidden beneath the dark stain above the north portal of the Riga Dom Cathedral. The ancient painting, discovered in 1891, was copied, published and then allowed to turn black again, and eventually restored in summer 2009; no photographs have come down to us. Thanks to current technological advances, it has not only been rediscovered but also complemented with previously neglected details. Although there are significant losses (the left-side composition has been washed off by rain and the right hand side had been destroyed long before 1891), the emergence of such an old artefact in Riga is a major event in Latvian art history that cannot boast of much medieval painting. The aim of this article is to focus on this important cultural fact, to test and specify the previous assumptions on the origins of the painting and single out contextual factors that have until now been disregarded. Medieval murals are a very intricate and enigmatic subject to explore, even taking into account the latest discoveries of restorers and art historians’ conclusions. The case of the Dom Cathedral painting is not an exception as medieval frescoes elsewhere in Europe have become scarce over centuries; they have faded, been destroyed, painted over, dated only approximately and little explored from the stylistic viewpoint. Over twenty years have passed since the last publications on the antechamber painting and the latest restoration has revealed important details that enable us to come to new and useful conclusions. The single surviving central scene ‘Coronation of Mary in Heaven’ is most appropriate for a detailed analysis. Decorative ornamental motifs found in lunettes are analysed too. The latest conclusions of iconography, palaeography and the history of ornament, as well as historical context, indicate that the mural had been most likely created in the 1360s-1380s.
4
Content available remote

SOCIAL AND CULTURAL CONDITIONS AND LIMITATIONS OF THE NORTHERN IRELAND'S PEACE PROCESS (Spoleczne i kulturowe uwarunkowania i ograniczenia procesu pokojowego w Irlandii Pólnocnej)

75%
Szczecinska-Musielak E.
Sprawy Narodowościowe
|
2011
|
issue 39
123-144
EN
The conflict in Northern Ireland, sometimes called 'The Troubles' (by British government), sometimes called 'war' (by nationalists), has lasted since 1921. The article presents historical, structural and cultural background of Ulster's conflict. Two main communities - catholic and protestant - are divided because of lots of reasons: one of them is different interpretation of history ('imagined histories'). On the social level the dominant position of the protestant community was supported by a system of discrimination. Two conflicted communities are integrated around different sets of values, symbols, norms. Feeling of belonging and group membership is connected with different ethnic identities. The peace process started in 1998 (Good Friday Agreement). Since then lots of changes have been put into execution in order to end political, social and cultural discrimination of the minority catholic community. Changes (reforms) at governmental level, like establishing new Northern Ireland Assembly or Northern Ireland Police Service, are very important. But equally important are changes on cultural and symbolic levels because they create space to re-defining ethnic identities. A good example of this could be The Re-imaging Community Programme, an initiative launched in 2006 by the Arts Council of Northern Ireland. The idea of the programme is to change - in cooperation with local people and artists - sectarian and fighting murals into neutral and create more friendly public space.
5

Neoislāma stila iezīmes Latvijas 19. gadsimta otrās puses un 20. gadsimta pirmās trešdaļas arhitektūrā un interjeros

75%
Kalnača I.
Makslas Vesture un Teorija
|
2015
|
vol. 18
48-65
EN
The article is devoted to the analysis of stylistic trends of neo-Islamic style as they manifest themselves in Latvian architecture and interior design of the time period. The architecture in Latvia during the second half of the 19th and the first third of the 20th century is characterized by rich and versatile heritage which has been dealt with from different angles in earlier publications; however, particular aspects of this heritage are still undervalued due to different reasons. One of the trends characteristic of the mentioned time period, for example, was the growing international influence of oriental cultures which has thus far not been investigated in Latvian contexts. The article pays attention to the neo-Islamic style heritage in Latvia and attempts to substantiate particular features of this style of architecture. The research offers a functional and stylistic analysis of the chosen objects which are subdivided into different groups according to their particular types and characteristic architectural elements. The introductory part of the article offers an analysis of those factors which determined the rise of neo-Islamic style in architecture in the 19th century. Among the most characteristic trends, the so-called orientalism which manifested itself in the scientific interest as well as popular study of and fascination about the art of the Orient is discussed. The Great Exhibitions which started in 1851 in London offered a possibility to get acquainted with Islamic and neo-Islamic architecture in Ottoman section, Egyptian section, Algerian pavilion, Tunisian pavilion etc. The following part pays attention to the interest of Latvian travellers and scholars who visited countries with Islamic style architecture and left testimonies in the Latvian press about their experience and impressions there. The main body of the article discusses different types of buildings – public and private houses, manors and examples of ephemeral architecture – which contain stylistic elements of neo-Islamic style. The buildings are classified into several groups according to different aspects of the presence of neo- Islamic style features.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.