History of Art

Maestro di cultura lombarda attivo tra la fine del XIII secolo e il primo decennio del Trecento - Madonna in trono col Bambino

by Luca Mor

in Scultura lignea dal Duecento alla fine del Quattrocento. Nuovi contributi, edited by V. Natale, Allemandi & C. Editore, Torino 2008, pp. 8-15, n. 1
ISBN 9788842216735

Public Display of Affection: The Making of Marriage in the Venetian Courts before the Council of Trent (1420- 1545). In: The Erotic Cultures of Renaissance Italy, Hg. Matthews- Grieco, S. (Aldershot: Ashgate, 2010), 173-197.

by Cecilia Cristellon

Symbols of Power in Rituals of Violence: The Personality Cult and Iconoclasm on the Soviet Empire’s Periphery (East Germany, 1945–61)

by Alexey Tikhomirov

published in: Kritika: Explorations in Russian and Eurasian History, Volume 13, Number 1, Winter 2012, pp. 47-88.

Ritratto di una cortigiana del Cinquecento: Caterina de Medici da Verona e le sue vicende (1518-1582). In: Ritratti. La dimensione individuale nella storia (secc. XV- XIX), Hg. Seidel Menchi, S., Pierce, R. (Roma: Edizioni di Storia e Letteratura, 2008), 147-176.

by Cecilia Cristellon

Collezionare antichità al tempo di Gregorio XIII: il caso di Paolo Giordano I Orsini

by Barbara Furlotti

in Unità e frammenti di modernità. Arte e scienza nella Roma di Gregorio XIII Boncompagni, atti del convegno (Roma 2004), a cura di C. Cieri Via, I.D. Rowland, M. Ruffini (Pisa-Roma 2012), pp. 197-216.

In Pursuit of Toyen: Feminist Biography in an Art-historical Context

by Karla Huebner

forthcoming in Journal of Women's HIstory

Redescubriendo a Jaime Prades, el gran tratadista olvidado de la Reforma Católica

by Borja Franco

Lo “sfondo” prezioso. Villa Bresciani e il suo “ospite” più grande

by Gabriele Caiazza

published in: Il Cristo ritrovato. Dalla basilica dei Santi Felice e Fortunato di Aquileia alla cappella Bresciani di Cervignano del Friuli: confronti e restauri (atti del convegno di studi: Cervignano, 3 dicembre 2005), ed. S. Blason Scarel, Aquileia 2007, pp. 84-129 [preprint]

The symposium “The found Christ” took place in Cervignano del Friuli (Udine) on Saturday, December 3, 2005, within the... more The symposium “The found Christ” took place in Cervignano del Friuli (Udine) on Saturday, December 3, 2005, within the homonymous multi-year project (coord. scient. S. Blason Scarel and P. Casadio) dedicated to the rediscovery of the "Christ of the Countess", a colossal medieval wooden crucifix preserved in the chapel of St. Cross, the gentilitial oratory of the villa Bresciani in Cervignano. The Conference Proceedings are published two years later, enriched by further updates: in the volume the author outlines – for the first time – the history of the residence founded by the noble Bresciani family in Cervignano (the precious 'background' of the ancient sculpture) and he describes the different buildings, the dependencies and the furnishings including his famous 'guest', suggesting again the proposal that he already put forth at the symposium: that it is to be identified with the "Christ of St. Felix", a gigantic wooden crucifix seen in 1570 by the apostolic visitor Bartolomeo of Porcia & Brugnera inside the Basilica of Sts. Felix e Fortunate in Aquileia, at that time still raised although no more flourishing

Sabato 3 dicembre 2005 a Cervignano si svolse il convegno “Il Cristo ritrovato”, nell’ambito dell’omonimo progetto pluriennale (coordinamento scientifico: S. Blason Scarel - P. Casadio) dedicato alla riscoperta del “Cristo della Contessa”, il colossale crocifisso ligneo medievale conservato nella cappella di S. Croce, l’oratorio gentilizio della villa Bresciani a Cervignano. A due anni di distanza vede la luce il volume degli atti – arricchito da ulteriori aggiornamenti – al cui interno l’autore per la prima volta delinea le vicende storiche della dimora cervignanese fatta costruire dalla nobile famiglia Bresciani (il prezioso ‘sfondo’ dell’antica scultura) e ne descrive i diversi fabbricati, le pertinenze e l’arredo compreso il suo celebre ‘ospite’, riproponendo la proposta già avanzata durante il convegno: che esso sia da identificare con il “Cristo di San Felice”, il gigantesco crocifisso in legno visto dal visitatore apostolico Bartolomeo di Porcia e Brugnera nel 1570 all’interno della basilica aquileiese dei Santi Felice e Fortunato, all’epoca non più fiorente ma ancora in alzato

1909: la scoperta

by Gabriele Caiazza

published in: "Ecce Mosaico! 1909-2009 centenario della scoperta del pavimento musivo della basilica di Aquileia" (atti convegno Aquileia, 20 giugno 2009), “Bollettino del Gruppo Archeologico Aquileiese”, XIX, 19, dicembre 2009, pp. 23-41 [preprint]

Saturday, June 20th 2009 the Archaeological Group of Aquileia organized a symposium one hundred years after the... more Saturday, June 20th 2009 the Archaeological Group of Aquileia organized a symposium one hundred years after the accidental discovery of the great early-Christian mosaic floor, which since then visitors can enjoy again in the patriarchal Cathedral: the annual bulletin of the association is entitled "Ecce Mosaico! 1909-2009 Centenary of the discovery of the mosaic floor of the basilica of Aquileia" and contains the Conference Proceedings including the essay "1909: the Discovery", in which the author reconstructs the chronicle of those days of the early twentieth century, following the gradual re-emergence of the mosaic and providing a summary of the first studies on the magnificent handwork

Sabato 20 giugno 2009 si è svolto il convegno organizzato dal Gruppo Archeologico Aquileiese a cento anni dalla fortuita scoperta del grande mosaico pavimentale paleocristiano, che da allora è di nuovo ammirabile nella cattedrale patriarcale: nel bollettino annuale dell’associazione, intitolato “Ecce Mosaico! 1909-2009 centenario della scoperta del pavimento musivo della basilica di Aquileia”, sono contenuti gli atti del convegno, fra cui il saggio “1909: la scoperta”, nel quale si ricostruisce la cronaca di quei giorni del primo Novecento, seguendo il graduale riemergere del mosaico e riassumendo i primi studi sul grandioso manufatto

Andy Warhol: The execution of a dream

by Darrelyn Gunzburg

This is a review of the exhibition ‘Os Mistérios Da Arte: Andy Warhol and Pietro Psaier’ held at the Fórum Eugénio de... more This is a review of the exhibition ‘Os Mistérios Da Arte: Andy Warhol and Pietro Psaier’ held at the Fórum Eugénio de Almeida, Rua Vasco da Gama, no.13 7000-941 Évora, Portugal in December 2011-January 2012.

Eros que desata los miembros. Convenciones Iconográficas...

by Pilar Diez del Corral Corredoira

Alla ricerca della propria identità

by Gabriele Caiazza

published in: József Rippl-Rónai. Un artista ungherese nell’Europa fin de siècle (a cura di R. Costantini), catalogo della mostra (Cividale del Friuli, 14 maggio – 2 ottobre 2011), Cividale del Friuli (UD) 2011, pp. 11-29

In the old church of St. John of the nunnery of St. Mary “in Valle” (Cividale del Friuli, Udine, Italy) from May 14 to... more In the old church of St. John of the nunnery of St. Mary “in Valle” (Cividale del Friuli, Udine, Italy) from May 14 to October 2 2011 is hosting the art exhibition “József Rippl-Rónai. An Hungarian artist in the fin de siècle Europe”. Its catalog offers a lot of interesting contributions, such as the essay “Searching his own identity”: the author presents some of the exhibited artworks (mainly from private collections and unpublished) in order to highlight the similarities and the differences in the career paths and in the lives of some versatile “masters of color” working in Central Europe in nineteenth and twentieth century.

Nell’antica chiesa di San Giovanni del monastero femminile cividalese di S. Maria in Valle, dal 14 maggio al 2 ottobre 2011 è allestita la mostra “József Rippl-Rónai. Un artista ungherese nell’Europa fin de siècle”: tra altri interessanti contributi, il catalogo dell’esposizione propone il saggio “Alla ricerca della propria identità”, nel quale la rilettura di alcune delle opere esposte (in gran parte provenienti da collezioni private e inedite) consente di mettere in evidenza le convergenze e le divergenze nei percorsi lavorativi ed esistenziali di alcuni poliedrici “maestri del colore” attivi nella Mitteleuropa tra l’Ottocento e il Novecento.

Aníbal Mattos e as Exposições Gerais de Belas Artes em Belo Horizonte

by Rodrigo Vivas

O presente artigo analisa cinco pinturas de Aníbal Mattos e a criação das Exposições de Belas Artes na cidade de Belo... more O presente artigo analisa cinco pinturas de Aníbal Mattos e a criação das Exposições de Belas Artes na cidade de Belo Horizonte. O primeiro feito de Mattos foi transferir o modelo das Exposições Gerais de Belas Artes, da Escola Nacional de Belas Artes, para Belo Horizonte tendo organizado mais de 25 mostras. A obra de Aníbal ainda não foi estudada sendo que as referências existentes tendem a relacioná-lo a política conservadora e responsabilizá-lo pelo insucesso da fundação da Escola Guignard. O presente artigo tem o objetivo de apresentar cinco pinturas de Mattos e fornecer um percurso inicial de análise.

Paris 2012, Symbolism Conference (13-14 April)

by Craig Landt

"Visual Spectacularism and Iconoclastic Justice in Late Medieval and Early Modern Europe"

by Allie Terry-Fritsch

Paper to be presented on the panel, “Bent, Broken and Shattered: European Images of Death and Torture, 1300-1650,” at the Annual Meeting of the Renaissance Society of America, Washington, DC, March 2012.

A key strategy of late medieval and early modern criminal prosecution in Europe was the systematic objectification of... more A key strategy of late medieval and early modern criminal prosecution in Europe was the systematic objectification of the criminal body. This aim is no better illustrated than by the use of effigies—recorded from the thirteenth century—to stand in for the convicted when physical presence was not possible. In situations such as criminal escape, premature death, or inconclusive identification, artists were hired to create a free-standing, portable effigy of the missing criminal-subject, which was tried, tormented and executed before crowds of witnesses. If the image was punished properly, then justice was served and the populace assuaged. That is, the image-substitute for the criminal body attained the same efficacy as “the real thing” in spectacles of punishment. This essay examines the punishment of effigies as acts of judicially-sanctioned iconoclasm in late medieval and early modern Europe, and seeks to theorize the visual spectacularism of the image-execution as a means of creating an image of the community.

"Somaesthetics and the Renaissance?"

by Allie Terry-Fritsch

Paper to be delivered as the introduction to the academic panel, “Historicizing Somaesthetics: Body-Mind Connections in the Medieval and Early Modern Viewer,” at the College Art Association Conference, Los Angeles, February 2012.

Somaesthetic fashioning, a term used in recent years to point to the purposeful cultivation of the mind-body... more Somaesthetic fashioning, a term used in recent years to point to the purposeful cultivation of the mind-body connections of an individual to heighten aesthetic experience, has emerged in art-historical discourse as a means to argue for and to better understand certain contemporary art practices. Grounded in John Dewey’s democratic approach to art as experience, the somaesthetic tradition advocates for the cultivation of active and interested aesthetic experiences through the engagement of the body together with the mind. While somaesthetics as a discipline, until now, has been decidedly focused on present artistic and performative practices, this paper opens the academic session on "Historicizing Somaesthetics: Body-Mind Connections of the Medieval and Early Modern Viewer," which features papers that consider how somaesthetic philosophy can be used to examine aesthetic experience in Medieval and Early Modern culture. By historicizing somaesthetics, this session seeks to reconnect the mind and bodies of historical viewers and forge a new theoretical construct of the historicized aesthetic experience in decidedly art-historical terms. Thus, moving beyond anthropological notions of “ritual,” “religious practice,” and “performance” or intellectual and scientific traditions regarding the visual process, this panel seeks to explore Medieval and Early Modern aesthetic experiences as part of a multi-sensory engagement that purposefully used the body in relation to the mind to cultivate meaning in the spectator.

"Multiculturalidad y arte en Valencia en la Edad Moderna. Fuentes para su estudio"

by Borja Franco

Publicado en "Anales de Historia del Arte", número extraordinario, 2011

This paper talks about the sources for the study of the religiosity and Art in Valencia during 16th Century, attending... more This paper talks about the sources for the study of the religiosity and Art in Valencia during 16th Century, attending not only to Catholic ideology but also to Protestant theology and moriscos ideas, which coex- isted with in this territory determining its Art.

The Godfather of Technology and Art: An Interview with Billy Klüver

by Garnet Hertz

in "Science, She Loves Me" edited by Mary-Anne Moser, Banff Centre Press, 2011

Art and science have encountered each other since the beginning of time, in all kinds of interesting ways - cave... more Art and science have encountered each other since the beginning of time, in all kinds of interesting ways - cave paintings, medical history, architecture or Leonardo da Vinci. One of the more recent encounters - and most relevant for the field of electronic art - was in 1967, when Billy Klüver, an electrical engineer at Bell Telephone Laboratories, founded Experiments in Art and Technology (E.A.T.) with Robert Rauschenberg. The artists involved in the project are now legendary in the contemporary art world but little is known of this initiative in the contemporary science communications world. Perhaps no wonder—the engineer at the helm decries any effort to force art and science into a meaningful union.

Find out more about Billy Klüver in this interview with Garnet Hertz from 1995.

Літописні “майстри із Греків” і Десятинна церква у Києві / The Desiatynna church in Kyiv and the “Greek Artists” Mentioned in Rus’ Chronicle

by Nazar Kozak

published in: Вісник Львівського університету. Серія мистецтвознавство / Visnyk Lvivs'koho Universytetu. Seria mystectvoznavstvo, 2 (2002).

The author argues that the “Greek artists” mentioned in the Rus’ Chronicle to be invited to work on the Desiatynna... more The author argues that the “Greek artists” mentioned in the Rus’ Chronicle to be invited to work on the Desiatynna Church in Kyiv in the year 6499[991] were from Chersones. These artists built the church and started but not finished the murlas. The year 6547[1039] given in the Rus’ Chronicle as the date of the second consecration of the Desiatynna Church implies that its murals were very probably completed only in the 1030s. The technological and stylistic similarities between the murals of Desiatynna Church and St. Sophia Church in Kyiv (dated to the 1030 s) suggest that the same group of artists may worked on both churches. After examining main monuments of the Byzantine monumental painting dated to the XI th century, the author further questions the origin of the artists who worked on Kyivan churches in the 1030 s.

Візантійські митці в Києві у ХІІ ст. / Byzantine Artists in Kyiv in the Twelfth century

by Nazar Kozak

published in: Вісник Львівського університету. Серія мистецтвознавство / Visnyk Lvivs'koho Universytetu. Seria mystectvoznavstvo, 3. (2003)

This article conciders the evidences for the work of Byzantine artists on the monumental decoration at Kyivan curches... more This article conciders the evidences for the work of Byzantine artists on the monumental decoration at Kyivan curches in the 12th century. The author analyzes the stylistic features of the mosaics and frescoes from Mykhalivsky Zolotoverkhy Cathedral, the Church of the Saviour on Berestove and St.Cyril’s Church in the context of the development of Byzantine monumental painting and searches for the indirect accounts on Βyzantine artists arrival to Kyiv in the written sources.