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Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons™
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Articles 1 - 6 of 6
Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Viktor Vasnetsov’S New Icons: From Abramtsevo To The Paris “Exposition Universelle” Of 1900, Wendy Salmond
Art Faculty Articles and Research
This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Church of the “Savior Not Made by Hands” at Abramtsevo in 1880–81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was …
French Women In Art: Reclaiming The Body Through Creation/Les Femmes Artistes Françaises : La Réclamation Du Corps À Travers La Création, Liatris Hethcoat
French Women In Art: Reclaiming The Body Through Creation/Les Femmes Artistes Françaises : La Réclamation Du Corps À Travers La Création, Liatris Hethcoat
Student Scholar Symposium Abstracts and Posters
The research I have conducted for my French Major Senior Thesis is a culmination of my passion for and studies of both French language and culture and the history and practice of Visual Arts. I have examined, across the history of art, the representation of women, and concluded that until the 20th century, these representations have been tools employed by the makers of history and those at the top of the patriarchal system, used to control women’s images and thus women themselves. I survey these representations, which are largely created by men—until the 20th century. I discuss pre-historical …
Capomastro And Courier: Giacomo Borzacchi And Bernini's Equestrian Statue Of Louis Xiv In Transit, Karen J. Lloyd
Capomastro And Courier: Giacomo Borzacchi And Bernini's Equestrian Statue Of Louis Xiv In Transit, Karen J. Lloyd
Art Faculty Books and Book Chapters
"On February 24, 1684, Giacomo Borzacchi was given small iron pegs and wooden wedges by the members of the Fabbrica (Building Works) of St. Peter's, "which he needs for the armature that he is making for the horse and statue of the King of France."1 Borzacchi was a kind of handyman-a mason and engineer-who was in the regular employ of the Fabbrica for almost 30 years. His project in 1684, the "armature," must have been the wooden support structure needed to safeguard Gian Lorenzo Bernini's equestrian statue of French King Louis XIV on its long trip to Paris. The previously …
Severan Marble Plan Of Rome Data Files, Justin St. P. Walsh
Severan Marble Plan Of Rome Data Files, Justin St. P. Walsh
Art Faculty Data Sets
In its original state, the Severan Marble Plan of Rome, placed on the wall of the Temple of Peace between 203 and 211 CE, showed viewers the locations of buildings throughout Rome, and even the groundplan of each of those buildings. It is today an extraordinary piece of evidence for understanding the city in that time period, despite its ruinous state. It survives in over 1,100 fragments, representing only about 10% of its original surface area. To date, scholars have successfully placed only about 100 of those fragments with respect to the buildings they depict. Using GIS and CAD software, …
Baciccio's Beata Ludovica Albertoni Distributing Alms, Karen J. Lloyd
Baciccio's Beata Ludovica Albertoni Distributing Alms, Karen J. Lloyd
Art Faculty Articles and Research
This article focuses on the artistic relationship between Baciccio and Gian Lorenzo Bernini.
Russian Icons And American Money, 1928-1938, Wendy Salmond
Russian Icons And American Money, 1928-1938, Wendy Salmond
Art Faculty Articles and Research
The article explores the marketing tactics and consumer expectations with regards to icons released in the street markets and provincial cities of Soviet Russia and acquired by American collectors from 1928-1938. These icons, including those from Byzantium in the tenth century, were seen as cultural commodities during the Russian revolution and the subsequent socialist construction. The Soviet apparatus Antikvariat was tasked with appraising the icon collections held by the Gosmuzeifond or the State Museum Reserve for exports.