The category of monuments of the Union includes the sculptural creations built in the interwar period, when Bessarabia was an integral part of Greater Romania. The monument to Stephen the Great and Saint, inaugurated in 1928 in Chisinau, represents the crown of glory in the creation of sculptor Alexandru Plamadeala (1888-1940) and that of architect Eugen A. Bernardazzi (1883-1931). One of the emblematic monuments of the Union is that to Ferdinand I, made by sculptor Oscar Han (1891-1976). In the same context, the Monument to the three martyrs: Simion Murafa, Alexei Mateevici, Andrei Hodorogea, portrayed by the Romanian sculptor Vasile Ionesco-Varo, a monument inaugurated in 1923, in Chisinau. The statue of Vasile Lupu in Orhei, installed in 1937, is also the work of sculptor Oscar Han. In addition to these, a wide thematic spectrum of monuments was erected throughout the interwar Bessarabia, dedicated to King Ferdinand I, Stephen the Great and Saint, Ioan-Voda the Brave and others. These monuments represent a starting point of a firm and undeniable expression of the Moldovan monumental art, which began to increasingly assert its authenticity and origin.
Many objects within Chilean museums remain unstudied. This is the case of some polychrome wooden sculptures whose origin cannot be traced back to foreign or Chiloé workshops stands out. The coherence of their morphological patterns and their conservation in a geographical area that coincides with the former territories of the Mapuche frontier seem to demonstrate that, from the second half of the 18th century onwards, a large amount of imagery may have been produced in that remote southern border of the Hispanic Monarchy. Art historiography has ignored these crude and simple pieces, usually describing them as mere expressions of "popular art" because they deviate from the naturalistic patterns set by the tradition of Spanish, Lima and Quito sculpture. In this article I shall consider one of these sculptures, the Virgen del Boldo, (Museo de Arte Religioso del Arzobispado de Concepción) in relation to the legend of the miraculous apparition of the Virgin Mary on a tree during a battle between Spaniards and Mapuche in Penco. This small sculpture summarizes the importance of this territory of “La Frontera” as a producer of a miraculous narrative with the impact of the Franciscan order. This narrative was embodied in a first image (probably from Quito) and that, through a process of symbolic appropriation, is again embodied in other images that obey a local manufacture.
The Late Cretaceous and the Paleocene representatives of the Aphrocallistes from the East European Province are known from the scanty skeletal fragments. The fragmentary preservation state of the fossils has brought about some contradictory characteristics of the genus and the idea of those sponges diversity. Colonial Aphrocallistes are regarded as the typical representatives of the Maastrichtian spongiofauna from the west of the European region.
In 1857, the French artist Charles Cournault published a plea for a French mission to Persepolis. The aimof the mission was to obtain examples of relief sculpture, like those he had seen in the British Museum, for theLouvre Museum. Believing that Achaemenid art deserved as much attention as Assyrian, Greek and Roman art,Cournault urged the government to undertake the mission and felt certain that it would be aided by the efforts ofthe Iranian diplomat Farrokh Khan who was, at the time, in France. Franco-Iranian relations having never beenbetter, Cournault believed the time was right for a concerted effort to obtain diagnostic Persepolitan sculptures forthe purpose of educating the public. If France did not pursue this goal, he felt certain that other powers would doso. Cournault displayed a reverence for ancient Achaemenid art and sought to promote its qualities to an audienceaccustomed to viewing Greek, Roman and, more recently, Assyrian art as the greatest of all early human artistictraditions.
The article highlights a brief history of the origin of the female Polovtsian statue with arrow-shaped pendants from the Hermitage. A detailed scientific description of the sculpture is given. The data of 16 sculptures with similar or close to the studied decorations are presented. It is concluded that the complex
of figure decoration with arrow-shaped pendants is currently unique. The question is raised about the relevance of the problem of scientific research of Polovtsian sculptures using modern methods.
The beginnings of contemporary Serbian art in Kosovo and Metohija are related to the establishment of the first educational institutions in this area, where generations of students and art students were educated. And overview of the development of contemporary art in Kosovo and Metohija can be traced back to 1949, when the High School of Art was founded in Peć. This school becomes a nursery of talents and a center of artistic development, improvement and shaping of artistic reality and Kosovo and Metohija. After that, the development of art education was infuenced by the establishment of the Higher Pedagogical School in Pristina in 1962. The conception of this educational institution included the formation of the Fine Arts Group, where young artists were successfully trained. The Academy of Arts in Pristina was re - established in 1973 an it had the following educational courses painting, sculpture, graphics and graphic design. The Academy played a key role in the development of the art scene in the province, educating young artists and future art teachers. Since the school year 1986/87, the Academy was reorganized and continued to work as the Faculty of Arts in Pristina. The most difficult period in the history of university art education in the province ocurred due to the war events in 1999, when the professors and students of this higher education institution were expelled. The faculties infrastructure, teaching space and studios were usurped, and most of works of art were looted and destroyed. The Faculty of Arts was then moved first to central Serbia, and since 2001. It has been working in Zvečan, i.e Kosovska Mitrovica.
History (General) and history of Europe, Social sciences (General)
We present a cognitive semiotic case study of the narrative potential of the statue Den lille Havfrue (‘the little mermaid’) by Edvard Eriksen in Copenhagen. On the basis of theoretical analysis and a survey in which 20 European and 19 Chinese participants replied to questions concerning this statue we argue that it, and similar statues, may be considered as products of intersemiotic translation, but only if we dispense with any requirements of “equivalence” between source and target, since statues are necessarily semiotically highly reduced. While the source narratives constitute cases of primary narrativity, with narrations providing the audiences with stories, statues may partake only of secondary narrativity, where a prior story is needed for the statue to be understood as narration. In our study, this was reflected by correlations between reported prior knowledge and narrative (and possibly even non-narrative) interpretations of Den lille Havfrue. Finally, we relate the discussion to present-day cultural and political “settings”, where many statues, including Den lille Havfrue, have become part of a global anti-racism narrative.
Between the opening of the École des beaux-arts to women in the late 19th century and the attack by suffragette Mary Richardson at the dawn of World War I against Velázquez’s The Toilet of Venus, commonly known in English as the Rokeby Venus, there was an abundance of speeches on the subject of the violence of women. The practice of a physically demanding art such as sculpture and the revolt against the repression of the Suffragettes stimulated an iconography that made reference to Gentileschi’s depiction of the Old Testament story of Jael and Sisera. The representation of armed women came to symbolise the institutional recognition of women artists, either in a meliorative or depreciating way, depending on the attempt made to counter the symbolic “threat” that this this new recognition posed.
The purpose of the article is a brief description of the author’s method for solving the problem of professional competencies formation for students studying in art and adjoining specialties related to the ability to carry out aesthetic evaluation of artworks and independently conduct educating and educational activities. This problem is particularly relevant in modern conditions, which are characterized by high transmission speeds of a large amount of visual information. The methodology is based on a system of forming professional tools for students to conduct analytical work in the field of aesthetic evaluation of artworks. The development of this methodology was carried out in accordance with modern didactic principles, such as the principles of science, the relationship between theory and practice, as well as the principle of visibility. These principles were transmitted at various levels of the educational process organization. To collect information, we used such methods as analyzing literary sources on the research problem, conducting surveys of students and teachers, and analyzing modern resources for storing and distributing images, namely, author’s works of art. The educational technologies described in the article can be applied in the process of training specialists in the field of architecture, all types of visual design, painting, graphics, sculpture, as well as specialists in the field of art and correctional pedagogy, art therapy.
This research investigates how arts based research methods contribute to the development of a positive disability identity through the act of uncovering. Through the theoretical framework of critical disability studies, the experience of having invisible disabilities in a normative society is explored via narrative and visual methods of inquiry including reflexive journaling, drawing, watercolor and sculpture. The heuristic process of arts based reflexivity is then used as a means to create a comprehensive portrait of the disability experience. This study concludes with research implications that address the ways in which teachers can integrate critical disability studies into the art classroom as well as significant considerations for when art educators introduce this type of critically reflective work into their teaching practices.
A study of spores of the single species of the genus Parahemionitis Panigrahi was performed using the method of scanning electronic microscopy (SEM). Spores of Parahemionitis arifolia (Burm. f.) Panigrahi are tetrahedral trilete, roundish-triangular in polar position, with micro-wrinkled exospore and sculptured perispore. Sculpture of perispore is cristate-reticulate, cristae are quite regularly distributed and form reticulum with small mostly closed polygonal luminae of different shape. Laesura arms are often obscured by numerous cristae. Size of spores is 53–63 × 40–42 μm. Spores of P. arifolia are similar in perispore sculpture with those of species of some cheilanthoid ferns.
This paper intends to analyze Arnaldo Pomodoro’s art work, particularly operations in which he has worked on a closed environment, an inner space, therefore far away from the monumental sphere that characterizes the artist's most famous operative codification. The works are not just placed in a place, but they are themselves "places", realized considering the historical-social context to which they are dedicated. In order to provide as wide a spectrum of Pomodoro's ability to read space as intended, were selected works in which the interplay between the site and the artist’s leap of imagination was translated into his personal expressive and symbolic language. Starting from sacred works (Corona radiante a Milwaukee, Altare per Pietrarubbia, Croce per San Giovanni Rotondo), in which Pomodoro has put himself through the wringer, defining an 'imaginary relationship' with the divine; followed by Cercatore Oscillante (Texas) and Rive dei Mari (Anacapri), where the artist interpreted the deepest sense of the place. Furthermore he represents the theme of the battle of human history, developed in the Sala d’Armi of Poldi Pezzoli Museum in Milan and in the great wallet Le Battaglie; in the end Ingresso nel labirinto, where the identification between work and 'place' is complete. It is a path, the one outlined by these works, which documents the tireless pursuit of one of the great interpreters of the sculpture of the second-twentieth century.
The article studies the representation of Spanish Kings in the mid-16th century, in sculpture and painting. The image of the monarch in that time has a specific character related to the antique allusions. This analysis demonstrates some specific features of the Spanish Renaissance culture with its pragmatic attitude to the antique tradition. The methodology of research is based on the iconographic, stylistic and compositional analysis of the monuments alongside with the study of the cultural material of this period. The research defines the place of the monuments in the evolutional context of the antique tradition in its heroic aspect in the Spanish renaissance art that will get its zenith in the mid-16th century.
This research is studying technique sculptures super - realism, search through, how the method of work, and the search for the materials used in their manufacture, and this is the first study in the field of art and the field of academic study in the country.Research consists of an introduction, And four sections, The introduction containing information on: research problem, Importance of research, Goals of the research, Limits of research, research approach, and research tools.The first section contains a technical study sculptures super -realism in contemporary sculpture, while the second section includes a search for alternative materials available in the local markets, for making sculptures super - realism, the third section dedicated for testing, and the fourth section contains the results of the search. And it was the most important results:1.Research experiments proved successful in the use of alternative materials, for making sculptures, and can be obtained from local markets.2.Industry sculptures super - realism, depend on the regular way, and also, depends on the a great experience sculptor , in: anatomy, techniques material
In 2014, the realization of a diagnosis in Mâlain (Côte-d'Or) offered the opportunity to better discern the site of the western sanctuary of Mediolanum, ancient antique agglomeration of the city of Lingons. In this great religious complex, ancient finds had shown the existence of a cult to Mars Cicolluis and Litavis/Bellona. Recent research shows that in the sanctuary, the faithful also addressed the god Apollo Mogetimarus and the goddess Sirona for healing purposes. Indeed, two inscriptions and the discovery of seven anatomical ex-votos illustrate in an exceptional way a cult rendered to this couple of healing deities already attested by the group of statuettes discovered in Mâlain in 1977. The sculpture exhumed during the diagnosis represents the Goddess partially dressed as a nymph. This representation is faithful to the image of the statuette and this iconography appears as isolated in the well-identified corpus of this divine figure. The sculptures, notably from the sanctuaries of Alésia (Côte-d'Or) and Hoscheid (Rhineland-Palatinate), show Sirona dressed in a long tunic. In the company of the serpent, the goddess of Mâlain is not without evoking a sculpture discovered in Cologne identified as a representation of Hygie. A goddess of Celtic origin with a well-marked identity, Sirona seems to have enjoyed a special favor in Roman Gaul and in Germany for her salutary role.
This paper sum up the different steps and decisions taken during the restoration of two Mobiles Lumineux made by Nino Calos (1926-1990) and conserved in the Museum of Modern Art of Paris. This article highlights the problematic of the obsolescence of the lighting systems, and how to resolve it.