Open Access. Powered by Scholars. Published by Universities.®
Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons™
Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- Classics (5)
- Ancient History, Greek and Roman through Late Antiquity (4)
- Other History of Art, Architecture, and Archaeology (4)
- Art and Design (3)
- Christianity (3)
-
- Religion (3)
- Christian Denominations and Sects (2)
- Classical Archaeology and Art History (2)
- History of Christianity (2)
- Slavic Languages and Societies (2)
- Asian History (1)
- Business (1)
- Byzantine and Modern Greek (1)
- Catholic Studies (1)
- European History (1)
- Fine Arts (1)
- History (1)
- History of Religion (1)
- History of Religions of Western Origin (1)
- Marketing (1)
- Modern Art and Architecture (1)
- Other Religion (1)
- Painting (1)
- Religious Thought, Theology and Philosophy of Religion (1)
- Keyword
-
- Abramtsevo (1)
- Altarpieces (1)
- Ancient Greece (1)
- Ancient pottery (1)
- Antiquities market (1)
-
- Archaeology (1)
- Athenian Symposium (1)
- Book review (1)
- Book reviews (1)
- Byzantium (1)
- Classical art (1)
- Folk art (1)
- Folk painting (1)
- Greek art (1)
- Greek pottery (1)
- Icon painting (1)
- Icons (1)
- Kiev (1)
- Marketing (1)
- Metallic features (1)
- Morgantina (1)
- Paris “Exposition Universelle” (1)
- Poetry (1)
- Prayer icon (1)
- Religious Art (1)
- Religious Painting (1)
- Roman Art (1)
- Rome (1)
- Russian (1)
- Russian Orthodox Church (1)
Articles 1 - 7 of 7
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 …
"Moving Mortals To Tears And Devotion": Cinzio Passeri Aldobrandini, Torquato Tasso, And The Sorrowing Virgin, Karen J. Lloyd
"Moving Mortals To Tears And Devotion": Cinzio Passeri Aldobrandini, Torquato Tasso, And The Sorrowing Virgin, Karen J. Lloyd
Art Faculty Articles and Research
Torquato Tasso was inspired to pen his Stanze per le lagrime di Maria Vergine santissima e di Giesù Cristo nostro (Rome, 1593) by a painting of the sorrowing Virgin belonging to Cardinal Cinzio Passeri Aldobrandini (1551–1610). A nephew of Pope Clement VIII by his sister, Cinzio took on the Aldobrandini name in a practice known as an “aggregation.” The publication of Tasso’s Lagrime allowed Cinzio to promote himself as a devout prelate favored by the pope, but it did not ensure his influence and a true “blood” nephew, Pietro Aldobrandini, successfully challenged his authority. This essay examines the status of …
Review Of "Vessels And Variety: New Aspects Of Ancient Pottery", Justin St. P. Walsh
Review Of "Vessels And Variety: New Aspects Of Ancient Pottery", Justin St. P. Walsh
Art Faculty Articles and Research
Book Review of Vessels and Variety: New Aspects of Ancient Pottery, edited by Hanne Thomasen, Annette Rathje, and Kristen Bøggild Johannsen
Athenian Black Glass Pottery: A View From The West, Justin St. P. Walsh, Carla Antonaccio
Athenian Black Glass Pottery: A View From The West, Justin St. P. Walsh, Carla Antonaccio
Art Faculty Articles and Research
Excavation of archaic Morgantina (c.700–450 BC), Sicily, has brought to light a significant pattern in the distribution of imported Greek pottery. This pattern, which shows a preference for imports with features that referred to metal vessels, is echoed at sites around the western Mediterranean. We argue that the preference for certain types was communicated back to Greek producers, and that it also reflects the particular local interests of non-Greeks, who associated metallic features not only with wealth, but also with their own ancestral traditions.
Review Of The Imagery Of The Athenian Symposium, Justin St. P. Walsh
Review Of The Imagery Of The Athenian Symposium, Justin St. P. Walsh
Art Faculty Articles and Research
A review of Kathryn Topper's The Imagery of the Athenian Symposium.
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.