This review examines the evolving dynamics of the contemporary art market, emphasizing the intersection of postmodern discourses, digital technologies, and art commerce. The analysis explores how technologies such as blockchain, artificial intelligence, and virtual and augmented reality are reshaping the production, distribution, and consumption of art. The study highlights the influence of online platforms, cryptocurrencies, and social media in democratizing access while addressing challenges like data integrity and the replication of physical art experiences. It also delves into the shifting roles of museums, galleries, and intermediaries in creating cultural capital and curatorial narratives amidst market-driven approaches. By synthesizing insights from multidisciplinary perspectives, this review underscores the transformative potential of digital innovations in art markets and their implications for research, curation, and the future of art commerce. The findings contribute to a deeper understanding of the art market's globalization and offer strategies for navigating its complexities in the digital age.
History of the arts, History (General) and history of Europe
Introduction: Colors in Iranian-Islamic culture and art have long carried deep concepts and meanings. Each color represents a special meaning due to thought, life experiences, religious and mythological beliefs, and visual characteristics. The symbolism of the color red, in particular, manifests a new perspective toward a deeper understanding of this rich culture. Examining this symbol helps us better understand Iranians' beliefs, values, and traditions and facilitates learning codes and symbols used in literary and artistic works. By analyzing the correspondence of scholarly data and samples of Iranian painting, this research investigates the symbols of red and its hidden concepts and seeks to answer the question of what concepts red color symbolizes in Iranian-Islamic culture and art.Research Method: This research was conducted using a descriptive-analytical method. The data collection process used written sources, available documents, and electronic sources. In the data analysis, literary, historical, mythological, religious, and mystical data related to red color were collected, and samples of Iranian paintings were selected as evidence and examples of the use of red color symbols.Findings: In Iranian thought, red is a symbol of warriors, Romans, Gods of Mehr and Vayu, symbols of groups such as Qarinvands (Sukhra Dynasty), Khurramites, and Qizilbash, Bahram planet (Mars) and iron metal, power and kingship, intellect and wisdom, celebration and glory, love and bloodlust. In Islamic culture, it symbolizes martyrdom, red death, the blaming soul, and Malamatiyya. In its positive dimension, the red color is the symbol of Imams, and in its negative dimension, it is used as the symbol of Ashqia and Satan.Conclusion: The study of red color symbolism in Iranian-Islamic culture and art shows that this color is a multifaceted and complex symbol rooted in nature and human experiences. Throughout history and with different beliefs, the color red has taken on different meanings, including love, power, war, martyrdom, and even the devil. Iranian-Islamic culture and art have used it in various ways, conveying a different meaning each time. Examining the symbolism of colors helps us understand the depth of the beliefs, values, and worldviews of the people of this culture.
In this study, a portrait found in Heraclea Pontica and exhibited in Karadeniz Ereğli Museum is discussed. In the inventory record, it is written that the portrait was found in Kayabaşı and it was delivered to the museum by the authorities of Alemdar Primary School in 01.09.1999. The head, which was carved from high-quality white marble, was made separately to be placed on a statue. There are fractures and deficiencies in the portrait.
The hair and beard of the person depicted almost from the front, and especially the wrinkles on the eyebrows, eyes and forehead, show that the person portrayed is of mature age. In addition to the physiognomic appearance of the portrait, the shape of the hair-beard, facial and forehead skin wrinkles show that a person who has lived (privat) is portrayed. Because, the portrait of Heraclea is depicted differently from the ideal appearance of the heads of the gods statues, such as Zeus, Hades and Poseidon. When the portrait is viewed from the front, the left side of the face is wider and more protruding than the right, and this should be related to the display of the sculpture and its main aspect. In other words, the owner of the portrait was probably portrayed as facing slightly to his right and looking to his right.
In order to better understand the style characteristics of the portrait preserved in the Ereğli Museum, it was compared with the contemporary examples, and the parallels and interactions in the Roman portrait art were determined. In this direction, chronologically similar examples of the portrait were examined in detail, the similarities and differences between the Ereğli portrait and its contemporary examples were discussed, and a suggestion was made for the date of the portrait. In addition, the portrait was evaluated in terms of its physiognomic features, and the person it could belong to was tried to be determined.
This article explores the sculptural programme of the west portal of Saint-Martin-de-Besse, which places Penance and the Eucharist sacraments at the centre of its polysemic narratives, forming chiastic sequences. Concerned with the fall of humankind and the history of redemption, the portal of Besse presents a series of enigmatic figures from the Old and New Testaments, along with an early Christian figure, Saint Eustace. In this article, I first present a brief historical overview of the church and its surroundings and then proceed with an iconographical survey of its portal. I argue that the series of sculpted narrative vignettes forming the west façade of Besse are polysemic as they carry multiple meanings. Focusing on salvation through (re)conversion, where the liturgical sacraments of Penance and the Eucharist are fundamental, these polysemic narratives form and perform four distinct chiasmus interchanges involving the Garden of Eden, where time and space are in constant dialogue.
Due to the limits of conventional sculpting, some artists may be unable to express themselves creatively. The research question is therefore posed: What are the factors that influence the use of multimedia effects in sculpture creation and Maslow’s hierarchy of needs? The research objective of was to identify the factors that influence the use of multimedia effects in sculpture creation and Maslow’s hierarchy of needs and to develop new creative methods for sculptors. The study used the purposive sampling method to invite six traditional sculpture artists and six multimedia sculpture artists to participate in interviews in an online format. Six factors were obtained from the analysis.
Despite its fame, the Winged Victory of Samothrace keeps on fascinating not only every visitor of the Louvre museum, but also the eye of the connoisseur. Despite its recent restoration in 2014, some of its mysteries might indeed never be solved, like the identity of its sculptor. But this fascination also comes from the statue itself, its majestic aesthetics and lack of head, in a similar fashion perhaps to the loss of the Venus of Milo’s arms. Since her discovery more than 150 years ago by Charles Champoiseau, she’s been on the throne at the top of the Daru stairs at the Louvre Museum. This hellenistic masterpiece, that Champoiseau called a ”mousseline de marbre”, became a must see in the Paris museum, together with the Mona Lisa and its other chefs d’oeuvre. But this statue’s fate is not set in stone. Many modern artists, like Omar Hassan or Xu Zhen, have tried to make it their own and give it a new depth. Recently, Beyonce and Jay-Z also offered a new perspective by including this Louvre masterpiece, among others, in their political masterstroke, the video clip ”Apeshit”. This paper seeks to decode the meanings and symbolism of these new versions of the Nike.
History of the Greco-Roman World, Greek language and literature. Latin language and literature
This article provides an overview of research on the Joanine-style gilded and polychrome wooden sculpture found in 18th-century Luso-Brazilian churches and chapels. It presents the cultural and artistic context promoted by the activity of Dom João V (1689-1750), whose reign significantly modified the nature of Portuguese art, which in turn influenced that of Brazil. The analysis of these dimensions allows us to examine the rising impact of Lusophone art on Brazilian religious decoration from the 1720s to the 1760s and identify the sources of the formal repertory of the artworks, the specific formal characteristics of the pieces preserved and the names of certain artists involved in these processes. This approach thus raises new questions about Joanine-style woodcarving in Brazil, a subject that has not yet been adequately studied.
Las Nuevas Tecnologías de la Información y de Comunicación (NTIC) han contagiado todos los sectores de nuestra vida cotidiana, incluido el mundo del arte, transgrediendo su frontera, no solo técnica y material, sino también temática y conceptual. El objetivo de esta investigación es reflexionar acerca de este hecho, así como realizar un estudio de los instrumentos digitales que están hoy al servicio del arte, con especial foco de atención a Internet y las redes sociales en el arte (dibujo, grabado, fotografía, videocreación, ilustración digital, pintura y escultura virtual). Para ello, se utiliza una metodología etnográfica y analítica pormenorizada sobre el tema en cuestión, mediante autores como Alcalá y Jarque, Belting o Valente y Adler, entre otros. Una de las conclusiones más destacadas revierte en la capacidad del arte actual en volverse más social y colectivo gracias a los nuevos paradigmas revolucionarios de la tecnología digital.
Palabras clave: arte digital; transgresión; sociedad; revolución; dispositivos.
Transgressing the artistic and material: the transition of art to the virtual and social
Abstract: The New Information and Communication Technologies (NICT) have affected all sectors of our daily life, including the art world, transgressing its frontier, not only technical and material, but also thematic and conceptual. Theobjective of this research aims to reflect on this fact, as well as to carry out a study of the digital instruments that are today at the service of art, with a special focus on the Internet and social networks in art (drawing, printmaking, photography, video, digital illustration, painting, and virtual sculpture). For this, a detailed ethnographic and analytical methodology is used on the subject in question, by studying authors such as Alcalá and Jarque, Belting or Valente and Adler, among others. One of the most outstanding conclusions reverts to the ability of current art to become more social and collective thanks to the new revolutionary paradigms of digital technology.
Keywords: digital art; transgression; society; revolution; devices.
Artículo recibido: 20/10/2021. Revisado: 09/11/2021. Aceptado: 26/11/2021
This essay discusses a wide range of media—including an 1853 Albion Cree Press, a Cree typewriter, and contemporary Indigenous artworks—to create a sense of the multiplicity of Indigenous technologies available for study today and the vastness of the visual record. While older art historical studies would be limited to so-called high art, namely paintings and sculpture, this essay takes an expansive approach to consider multiple examples of visual culture in the formation of Indigenous literacy traditions. The work considers the importance of birchbark biting and moss in the pictorial record, for example, as a form of Indigenous technology. This essay has also been inspired by recent conversations with my mom and colleagues in the discipline of contemporary art and for that I am thankful and try to reflect a more conversational approach to the media discussed herein as a methodology of upending binaries and tensions of spoken and unspoken and not-as-yet written stories. The research engages in visual analysis of Indigenous literary artifacts and images. By Indigenous literacies I mean the way Indigenous people have engaged and engage technologies and media to move ideas forward, to create art and culture. The essay takes a speculative approach, using some stories about artworks and narrative approaches to honor a history of Métis and Cree paths to knowledge that are based on storytelling rather than definitive histories. As a person of Métis ancestry on my maternal side, I write this essay not as a fluent Cree or Michif speaker, but as one who is in a life-long process of language learning. Analysis of visual imagery expands staid notions and simplistic understandings of Indigenous literacies as solely based on writing.
Bibliography. Library science. Information resources
The objective of the article is to discuss the history of the acquiring of marble sculptures by Prince Władysław Czartoryski during his two stays in Italy: in Naples in 1889 and in Rome in 1891, based on preserved archival documents. The statues include such exquisite examples as a sculpture of Venus Medici from the beginning of the 1st century AD, as well as examples of compilations of ancient fragments that supposedly had previously belonged to the Roman Torlonia collection. Formal analysis of individual objects is expanded upon with information related to conservations they have been subject to.
The research studies the sculptural formation in the third millennium: styles and trends, by taking the most important results of sculpture in the third millennium. The problem of the research is to search for the new sculptural formation in what it constitutes of social and human importance, and what are the important factors in forming the contemporary sculptural structure, and what is the mechanism of showing and producing the new formation. The research requires the study of the most important thing that the (sculptural formation in the third millennium styles and trends) represents. The importance of research depends on the importance of the sculptural formation after the twentieth century and the importance that the form represents in the intellectual discourse in the third millennium of diversity and formation. The aim of the research is to reveal the sculptural formation in the third millennium.The current research may be delimited to studying the sculptural works carried out of all modern materials after the twentieth century, i.e., (2000-2018) in Europe and America. The research also defined the terms used. The study consists of two sections: the first is the thought and the authority in the modern sculptural formation, while the second section tackles the modern sculptural formation: styles and trends which reviews the most important intellectual, philosophical and formal approaches and the most important postmodern sculpture trends which were a major cause in the new formation. This chapter concluded with the most important indicators that can be used in the research procedures.
The methodological framework included the research procedures such as the research community, methodology, models, and the justification for the selection of (4) samples. They have been chosen because they represent the research community and its temporal limitation through which the objective of the research is reached after analyzing them leading to the most important findings, conclusions, recommendations and suggestions presented by the researcher. The results of the research included:
The works of the third millennium presented a sculptural structure and a self-orientation that transformed the construction of form and style into a free aesthetic standard and value and into a personality that reflects the imaginative perceptions of the spirit through freedom of expression, as in all models. The works of the sculptors in the third millennium were characterized by a variety of shapes, methods, techniques and presentation methods, through their dealing with the types and shapes of the new sculptural materials that came after their rejection of the traditional raw materials in sculpture, putting for themselves an art special for them as a result of their own personal experiences as in all models
findings, conclusions, recommendations and proposals. Then the results of the research and discussed, including The work of the third millennium came in a sculptural structure and self-orientation that referred the construction of form and style to a free and personal aesthetic standard and value that reflected the imaginative perceptions of the spirit through freedom of expression, as in all models The work of the sculptors in the third millennium was characterized by a variety of shapes, methods, techniques and presentation methods, through their dealing with the types and shapes of the new sculptural materials that came after rejecting the traditional raw materials in sculpture, putting their own art as a result of their own experiences and experiences as in all models
This is the text of the presentation “Charles V and the Fury at the Prado Museum: The Power of the King’s Body as Image” at the International Conference “El poder del la imagen en el Museo del Prado” (Madrid, December 12th-13th, 2017). By analysing the bronze sculpture Charles V and the Fury (Leone and Pompeo Leoni, 1549-1564. Prado Museum, Madrid), this paper aims to underline the necessity to study royal images in their context (with particular attention to their visibility) to understand better their social use and function. This type of methodological approach can be without any doubt very useful for the historiography in the overall analysis of the leader’s portrait and can stimulate new researches for the future and reformulate some of the traditional conceptions on this topic.
Il contributo prende in esame il Crocifisso ligneo realizzato alla fine degli anni Settanta dallo scultore Pinuccio Sciola, figura di respiro internazionale, noto soprattutto per la produzione delle sue “pietre sonore”. L’opera, finora inedita, è stata acquisita dal Polo museale della Sardegna poco prima della morte dell’artista, avvenuta nel maggio del 2016, ed è destinata alla Basilica paleocristiana di San Saturnino, intitolata al patrono della città di Cagliari. La lettura della scultura, condotta attraverso l’analisi iconografica e stilistica, pone in evidenza le peculiari caratteristiche che rimandano all’iconografia medievale del Crocifisso gotico doloroso, molto diffusa in Sardegna, e reinterpretata dallo scultore in chiave moderna. Il crocifisso ha offerto l’occasione di una unitaria rivisitazione critica dell’attività di Sciola nel periodo giovanile di formazione durante gli anni Sessanta e Settanta del Novecento, attività poco indagata dagli studiosi e sempre marginalmente trattata. Si tratta di una produzione prevalentemente figurativa influenzata evidentemente dagli studi condotti dall’artista prevalentemente fuori dall’isola e delle sollecitazioni degli spunti visivi recepiti attraverso i viaggi e la visita alle mostre.
This contribution examines the wooden crucifix made at the end of the seventies by the sculptor Pinuccio Sciola, best known internationally for the production of its “sound stones”. The artwork, so far unpublished, was acquired by the institution PolSo museale regionale della Sardegna shortly before the artist's death in May 2016 and it is intended to be exposed in the early Christian basilica of St. Saturnino, named after the patron saint of the city of Cagliari. Both an iconographic and stylistic analysis of the sculpture highlights specific connections to the medieval iconography of the painful Gothic crucifix, very common in Sardinia, that the sculptor reinterpreted in a modern way. The crucifix offered an opportunity for a unified critical review of Sciola’s activity during his juvenile training in the sixties and seventies, not much investigated by researchers and always touched upon marginally. It is a mainly figurative production, evidently influenced by the studies that the artist made mostly outside the island and impressed by what he saw through travel and visits to exhibitions.
Since the 1970s, the study of Gothic ivories has undergone a genuine revival that has further flourished in recent years, thanks in particular to the Courtauld Institute of Art online database containing more than five thousand pieces. Recent publications allow us to appreciate the new perception of Gothic ivory sculpture, to highlight the problems that remain unsolved, particularly those concerning dating and provenance, as well as to point out some advances, especially concerning works formerly unjustly condemned as fakes. More importantly, these scholarly works apply new strategies, and demonstrate increased attention to forms of production, iconographic choice, function, as well as to the history of collecting and research.
If I close my eyes, the absence of light activates the peripheral cells devoted to the perception of darkness. The awareness of ‘seeing oneself seeing’ is in its essence a thought, one that is internal to the vision and previous to any object of sight. To this amphibious faculty, the diaphanous color of darkness, Aristotle assigns the principle of knowledge. Vision is a whole perceptual system, not a channel of sense. Functions of vision are interweaved to the texture of human interaction within a terrestrial environment that is in turn contained into the cosmic order. Within the internal resonance of a double reflection, the living being is the transitive host between two orders of scale, both bigger and smaller than the individual and unity. In the perceptual integrative system of human vision, the convergence-divergence of the corporeal presence and the diffraction of its own appearance is the margin. The sensation of being no longer coincides with the breath of life, it does not seems ‘real’ without the trace of some visible evidence and its simultaneous ‘sharing.’ Without a shadow, without an imprint, and destined for multiple invisible witnesses, the numeric copia of the physical presence inhabits the transient memory of our electronic prostheses. A rudimentary ‘visuality’ replaces tangible experience dissipating its meaning and the awareness of being alive. Transversal to the civilizations of the ancient world, through different orders of function and status, the anthropomorphic figuration of archaic sculpture questions the idea of Being. Ancient statues do not appear in order to be visible as artworks, but rather to exist. The awareness of human finiteness seals the compulsion to ‘give body’ to an invisible apparition that shapes the figuration of Being as the corporeal expression of an ontogenetic waking of human consciousness.Subject and object, the term humanum fathoms the relationship between matter and its living dimension, this de facto vision and the ‘there is’ which it contains. The project reconsiders the rift between the terms vision–presence in the contemporary perception of anthropomorphic figuration according to the immaterial heritage of archaic human statuary and the esoteric legacy of its origins.
Abstract In a lichen sample collected from a tree in Bârlad town (Vaslui County, Romania), a new tardigrade species belonging to the genus Milnesium (granulatum group) was found. Milnesium berladnicorum sp. n. is most similar (in the type of dorsal sculpture) to Milnesium beasleyi Kaczmarek et al., 2012 but differs from it mainly by having a different claw configuration and some morphometric characters. Additionally, the new species differs from other congeners of the granulatum group by the different type of dorsal sculpture, claw configuration and some morphometric characters.
Abstract Seed shape, dimensions, surface texture and sculpture, hilum shape and position were recorded for seven species of each of the Apocynaceae and Asclepiadaceae by using light microscope (LM) and scanning electron microscope (SEM). Seven patterns were recognized based on surface sculpturing pattern: reticulate (with five subtypes), striate, ruminate, papillate, colliculate, aculeate and rugose. Anatomical investigation using light microscope showed that the hypodermis is present in the outer integument of two species and absent in the rest. The inner integument is recorded two types. The data proved useful in the construction of a bracketed key to the species. The potential taxonomic value of the recorded characters is indicated by the richness of variation recorded in the limited sample of genera and species.