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Articles 1 - 13 of 13
Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture
A Methodological Dismantling: Manet's Olympia And The Rupture Of The Western Reclining Nude, Abigail Charlotte Van Hoak
A Methodological Dismantling: Manet's Olympia And The Rupture Of The Western Reclining Nude, Abigail Charlotte Van Hoak
Student Scholar Symposium Abstracts and Posters
The question is whether Édouard Manet was shaped by his era or doing the shaping, and Olympia answers it. It was not an accident but a methodical dismantling of a centuries-old tradition, and by refusing to look away from modern life he forced everyone else to reckon with it too. The reclining nude has never recovered. For centuries, artists from Titian to Ingres constructed a genre around idealized bodies, mythological distance, and an uncontested male gaze that rendered real women into timeless passive objects. Manet inherited that tradition and refused to perpetuate it. Through the theoretical frameworks of Berger and …
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 …
Like Night And Day: Pavel Florenskiĭ, Igor’ Grabar’, And The Fate Of Icons In The 1920s, Wendy Salmond
Like Night And Day: Pavel Florenskiĭ, Igor’ Grabar’, And The Fate Of Icons In The 1920s, Wendy Salmond
Art Faculty Books and Book Chapters
"The preservation of medieval icons in the early years of Soviet power is deservedly considered one of the cultural triumphs of that iconoclastic period, when the very future of icons hung precariously in the balance. The nationalization of church property, the dissolution or destruction of so many monasteries and churches, and the pervasive mood of iconoclasm that followed the Bolshevik Revolution placed Russia’s most important icons in a precarious position. Their survival depended on the efforts of a small group of scholars and restorers operating under the aegis of NARKOMPROS’s museum and conservation wing (Glazmuseĭ in its various iterations; later …
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 …
Introduction. Stars, Water Wings, And Hairs. Bernini’S Career In Metaphor, Claudia Lehmann, Karen J. Lloyd
Introduction. Stars, Water Wings, And Hairs. Bernini’S Career In Metaphor, Claudia Lehmann, Karen J. Lloyd
Art Faculty Books and Book Chapters
Examining Bernini's works from 1665 on, from Paris and Rome, this book demonstrates the wealth of material still to be drawn from close visual and material examination, archival research, and comparative textual analysis. On the whole, this collection deals with Bernini's position as the leading creator of portraits - in oils, marble, monumental architecture, and metaphor - of some of the most powerful political players of his day. These studies speak to the growing distance of Gallic absolutism from the fading dreams of papal hegemony over Europe, and to the complexities of Bernini's role as mouthpiece, obstacle, and flatterer of …
"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
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, …
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.
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.
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.