History of Art and Architecture

Las investigaciones realizadas para la elaboración del informe histórico-artístico encargado para la restauración de la torre campanario de la iglesia parroquial de Ricla (Zaragoza) han permitido trazar con bastante precisión la historia constructiva y la correspondiente crítica de autenticidad del monumento. Así, hoy estamos en condiciones de afirmar que fue levantada por Juan Lucas Botero el Joven en 1542 y recrecida durante la segunda mitad del siglo XVI. También se ha podido precisar que ese cuerpo superior terminó generando graves problemas estructurales, que fue derribado a comienzos del siglo XVIII, y reconstruido poco después, para reformarse a mediados del siglo XIX y, por última vez, un siglo más tarde, a mediados del XX. Para entonces, su característico chapitel bulboso fue sustituido por el remate edicular inspirado en el de la torre de Utebo que todavía puede contemplarse en la actualidad.

This paper aims at the study and enhancement of the Greek’s historical, cultural and ekistics heritage in Turkey today, targeting on the enhancement of its image that is dependent on the architectural, morphological and social features of the built fabric. As a key study, there were chosen communities of the contemporary province of Izmir, Çeşme and Alaçati.
The methodology approach which was chosen is consisted of bibliography and in situ research and analysis, both of which have been taking place in the framework of a research program entitled “Cultural and ekistics heritage of the Greek communities in Asia Minor”.
A thorough examination is followed in the evaluation of the historic relations and ties, in order to enhance tradition and redefine the symbiosis of the dualism of greek origin ekistics heritage and tourism development in the turkish territories. 
During the investigation, a question was raised, regarding the way in which a monumental housing settlement could adapt to current conditions that have brought about a kind of conversion in the current identity of the communities.
Their crucial historical and cultural role as the holdover of collective memory and architectural heritage, establish them into places of great significance, worth being preserved and enhanced throughout the years.
In this context, a series of proposals are suggested, targeting on the enhancement and protection of their cultural image, along with their historical and architectural identity.

Cette communication a eu lieu le 31 mars 2017, dans le cadre du séminaire doctoral d'Alexandre Gady. Elle fut l'occasion de révéler une documentation inédite permettant de porter un nouveau regard sur le projet de place Louis XVI destiné à la cité du Ponant en 1786.

Hornig Károly veszprémi püspök 1907 – 1910 között kora historizáló szemléletének megfelelően barokkból neoromán stílusúvá építtette át a veszprémi székesegyházát. A rekonstrukció eredményeképpen a 18. század elején épült barokk templomot értékes freskóival együtt elbontották, s helyette ideálisnak és történetileg hitelesnek gondolt romanizáló jegyekben építették újjá. A bontás – építkezés, és az erről fennmaradt képi és szöveges dokumentációkapcsán számos megállapítás megfogalmazására került sor már a munkálatokkal egy időben, illetve a későbbiek során is. 2010. október 4-én, az átépített székesegyház felszentelésének centenáriumán tudományos konferencia keretében foglaltuk össze a legújabb régészeti, művészet- és építéstörténeti kutatási eredményeket, az építkezésre vonatkozó levéltári forrásokat, valamint további érdekes adalékokat dolgoztak föl a szerzők az építkezésben közreműködő személyek életrajzaihoz. Tanulmánykötetünk e szimpózium előadásainak szerkesztett változatát tartalmazza.

Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.

The visual devices used by Tony Blair and George Bush to get themselves elected and maintain power, come not from modern times, but a world that is thousands of years old. How Art Made the World ventures back to the creation of Stonehenge and the reign of Alexander the Great to reveal how imagery became an indispensable weapon in every leader's political armoury.

This episode explores how art can be used as a persuasion device by those in power and when did we learn to use images, to create a powerful icon or symbol, this way?

The use of art as a tool for those in power, started at different times, in different cultures. Near Stonehenge the grave of the Amesbury Archer was discovered in 2002, the grave was different to those previously found near the site, as this one was not Roman, but much earlier, dating to when the first sarsen stones were erected. What made him interesting were his gold hair tresses, possibly the oldest dated gold objects in Britain, and the fact that he was a foreigner, from the region that is now Germany / Switzerland. The archer had completed an epic journey for the time, and the treasures in his grave show a man of status. Art for personal adornment, like these hair clasps, elevated him above his peers.

As time progressed, art became a political tool, kings competed for more dazzling adornments. As kingdoms got bigger the kings had to overcome communication issues. Darius the Great of Persia, ruled over 20 nations from Persepolis. As very few people could read, Darius had stone reliefs created that combined styles from all over the empire, the carvings showed each nation bring tributes to their king. This showed respect, and the carvings communicated that Darius admired and respected his people. Darius created a symbol for himself, that of the archer, symbolic to Persians of leadership and wisdom, central to the concept of kingship. Darius embossed this symbol on gold coins, which became the currency to trade within the empire.

Darius’ conqueror, Alexander the Great, took this concept further. From an early age, Alexander’s image was being made for him. In his fathers tomb, an Ivory head recognisable as Alexander’s was found, showing that his image had been made for him in advance of him becoming king. In Pompeii, a copy of an original Macedonian painting, shows Alexander the Great, fearless, fixated on his enemy and leading from the front. He is in the midst of battle with king Darius, shown fearful and panicking. Where Darius had used a symbol to communicate his power, Alexander used his face. On defeating the Persians, Alexander melted down all their coins replacing them with coins bearing his head. Tests have shown that people are more influenced by the image of the head and this technique has endured 2500 years and still used today.

This artistic power can be used for sinister purposes, to persuade us to see things a certain way or even deceive us. The earliest known use of this dates back to the Romans. In 40BC Rome was in crisis, the city state was split between royalists and republicans. You could tell people’s political allegiance by how they dressed. Octavian (Augustus) understood the power of art and used it to his advantage. He needed to persuade his opponents ,and used artists to create a less threatening image, one that won over the republicans. Although the image showed him as a powerful general, it didn’t show any military arms, and his gestures were more about humility than power. His armour breast plates show him accepting surrender of the Parthian Empire, with the gods looking on approvingly. The statue offered reassurance, but it was all a lie. While he portrayed himself as a peace maker, he was getting rid of the opposition; while he was preaching humility, he lived like corrupt royalty and while pretending to hand power to the people he reinstated himself as a king.

The leaders of past used paint and marble, today we use digital manipulation. But as humans we still remain vulnerable to the persuasive power of art.

Ta’ Braxia cemetery represents a change in sensibility that led to a new consciousness towards death, depicted not only in the
new design of the urban cemetery, its architecture and landscape, but also in the ephemera related to death, dying and the funerary monuments. It established 19th-century laws, customs and architecture for Malta’s first urban cemetery. Ta’ Braxia helped to implement the then contemporary consciousness towards death and burial that would eventually lead the island to modernism. However, these changes were not willingly embraced by the local Catholic Church, and what makes Ta’ Braxia cemetery more unique is that it broke new ground, during the Protestant-Catholic tensions.

The hallmark of Almelkar’s style

Dr. Rehaman Patel
He is well known for his own distinct ‘Almelkar style’ inspired by Indian miniatures. Almelkar was obsessed by traditional values of Indian art and by an Indian ethos, while the Progressive Artists Group was challenging all forms of art traditions in Mumbai. Almelkar started working vigorously in his Indian style and remained faithful to it all his life. 
Almelkar was born on October 10, 1920. He began painting at the young age of seven.  Between 1935-40 he completed Art Education in Nootan Kala Mandir in Mumbai and held the post of principal in same college. In 1948 he did Diploma in Drawing and Painting at Sir J. J. School of Arts, Mumbai.

Almelkar created his paintings by making a skillful use of luminous colours and decorative elements in a variety of compositions preferring khaki mount board to canvas. Many times he applied colours with his fingers instead of brush. Texture created by jute, comb and rags was the hallmark of Almelkar’s style. It is evident from his paintings that he was attracted towards the beautiful and dynamic side of the adivasi life and expressed it, but never dealt with the reality of adivasi life in remote places full of misery, poverty and exploitation.
He won 20 gold medals and 24 silver medals across India including the Governor’s award at Bombay Art Society exhibition in 1948 and Gold Medal of Bombay Art Society in 1954. He received a cash prize of Rs. 1,000, from the hands of Dr. Rajendra Prasad, President of India at the Second National Art Exhibition, Lalit Kala Akademi, New Delhi in 1955. He is the only artist from Karnataka to get national award early.
Almelkar had 24 exhibitions so far to his credit and he held his 25th exhibition titled ‘Bhava Darshan’ at Jehangir Art Gallery in November 1968. Paintings like Tribal Priest, Malabar Maiden, and Garden of Allah were displayed. A catalogue was printed ‘Silver Jubilee’ as main title of cover page. The exhibition was a great success and many paintings were sold.
He has 44 solo exhibitions at his credit which were held not only in India but in Malaysia, Singapore, Indonesia, Thailand and Ceylon. In early days of learning he was influenced by works of N.S. Bendre and Walter Langhammer. He died on December 12, 1982 of heart attack in Pune.

Zusammenfassung

Unserer Stadt zur ehre.
Architektonische entwürfe des deutschen Hauses in Brünn
Aufgrund der zeitgemäßen Presse werden in dem Beitrag verschiedenste architektonische Entwürfe des Deutschen Hauses in Brunn erwähnt, charakterisiert und aus heutiger Sicht betrachtet. Im ersten Teil handelt es sich um das Projekt von J. Laizner aus dem Jahre 1872, welches sich aufgrund seiner nächsten Werke in groben Zügen rekonstruieren lässt. Weiter wird der Entwurf von F. Wannieck und seiner Fachgenossen aus dem Jahre 1882 dargeboten — einschließlich der verschiedensten, in der Presse publizierten Varianten, die schematisch auf den herausgegebenen Karten präsentiert wurden. Zweiter Teil des Beitrages konzentriert sich auf den architektonischen Wettbewerb im Jahre 1887 wie auch auf die Umstande, die ihm vorangingen. Detailliert wird das Bauprogramm behandelt und es wird auch erläutert, dass die Ausrufung des Wettbewerbs für alle Architekten der deutschen Angehörigkeit eher Vorteil als Begrenzung wurde. Erläutert wird weiter, warum in der Kommission T. von Hansen und K. von Hasenauer fehlten und wie großes Interesse für den Wettbewerb herrschte. Aufgrund des zeitgemäßen Textes von A. Prokop versuchten wir zu rekonstruieren, nach welchen Kriterien die Kommission ihre Stellung nahm. Wie sich zeigte, wurde zum wichtigsten Punkt die finanzielle Seite, weil die meisten Projekte den maximalen Geldbetrag überschritten. Ähnlich wichtig waren auch die Bedürfnisse, die den Stil betrafen, welcher, obwohl nicht geplant, auf die nordische Renaissancearchitektur hingewiesen hat. Einzelne Wettbewerbsprojekte wurden zusammengefasst und aufgrund der zuganglichen Informationen vorgestellt. Die größte Aufmerksamkeit wurde natürlich den 5 Siegerprojekten (von H. Ende und E. Böckmann, G. Wanderley, M. Haas, F. Schachner wie auch von S. Neckelmann und A. Hartel) gewidmet, die auch herausgegeben wurden. Bei jedem Projekt wird sein Grundriss wie auch die Seite des Stils erwähnt und es wird seine innere Gestaltung und äußere Wirkung bewertet. Im breiteren Kontext wurden die möglichen Vorlagen gesucht (z. B. Wiener Staatsoper als Vorlage des Entwurfes von Wanderley oder die Waffenkammer in Gdansk als Vorlage des Projektes von Ende und Böckmann) und die zeitgemäßen Kommentare und Meinungen zitiert. Der Beitrag bemüht sich auf den Entschluss der Kommission das Licht zu werfen und kommt zum Resultat, dass der Wettbewerb ein hohes Niveau präsentierte. Weil aber die meisten Projekte den Bedingungen nicht entsprachen, wurde also auch die Auswahl begrenzt. Zum Glück gehörte zu den Projekten auch das sorgfältig entworfene Projekt der hohen Qualität von Ende und Böckmann, das auch zu Recht den ersten Platz gewann.

For me it became a challenging and a fascinating experience to collect bits of historical information and reconstructing the history of a heritage value building of some grandeur when no inscription plate was found affixed in addition to laboriously searching the names of the persons that could be associated with events and happening connected to it. However, it looked as if the Khunga Kothi –a feudal retreat, recently offered this occasion to me in which the documentary proofs culled from documents relating to a bygone era indicated that it was built sometime in early 1900s by the then Raja of Jind on the picturesque left bank of Chautang (also spelt as Chitung or Chetang) canal that originated right in the Shivalik range and later became part of the modern Western Jumna Canal system. Chautang became the first canal in this part of India that was laid in mid-14 th Century-in AD 1355 to be exact, by celebrated and benevolent Feruz Shah Tughlaq when he had thought of bringing Jumna water to the parched and arid Hansi territory. The canal, with less carrying capacity in comparison to the present one, was later extended in AD 1356 with some effort to irrigate the gardens and orchard at Hisar-e-Feruza or Fort Hisar in Haryana. The famous Gujari Mahal in Hisar, a protected relic adjacent within the fort city enclosure, was in fact an entertainment resort of the Sultan in which the pavilions and water courses were created. It is now wrongly advertised as palace residence of a young and pretty woman of Gurjar community that enamored the Emperor and as long as he stayed in his Shikargah i.e. Hisar-e-Feroza after a retreat from the hunting grounds. However, the association of Chautang with Jind and the antiquity of the old canal has been as fascinating as that of the previous royal owners of the Khunga Khothi during the British colonial era. Since archaeologists have been persistently shown interest in the palaeo archaeology, they found out that Chautang was an ancient rainy stream that flowed alongside the Jumna for many miles and turning westward merged with the mythical Saraswati. For archaeologists Chautang and Drishadwati is one and the same stream. Feruz Shah had only asked his military engineers to undertake a survey and after getting the desired information decided to use the old, dried bed of the Chautang for laying a canal and realizing his dream of bringing water to Hisar-e-Feruza. It laid waste for about three hundred years when in Akbar's time Shahab-ud-din Ahmad Khan, governor of Delhi, repaired it. In AD 1826-27, it was again set in order by the British Government. In 1897-98 the dry stream was realigned and rechristened as Hansi Branch. Up to the year 1888 AD the irrigation of State of Jind villages was carried on by the British authorities. Again in 1900-01 remodeling of Hansi Branch was done to carve out distributaries and fixing the revenue for water. The local village folk still call the Hansi Branch as Chautang which constitutes one of the principal canal in the matrix of irrigation system ascribed to the WJC. In the new system the Chautang originates at Munak Head, north west of Panipat, touches Safidon and traverses through Jind town leaving old Jind settlement and fort mound to its east. In this context it was amazing to realize how the engineers of Feruz Shah Tughlaq could have discovered or identified the course of dry bed of ancient Chautang, which could have inspired the Sultan and envisage this feat 660 years ago. It seems his generals might have made enquiries or come across some reference from the Brahmins that could have indicated to him by citing from the old texts about the existence of the river that exactly followed the course of the Chautang or Drishadwati. In the above historical mention, it transpired that Khunga Kothi would be lost to history if it were not examined and photo-documented. I could not have known about its

When is the negotiation of being seen in front of the lens a civic act? Dawoud Bey has consciously grappled with this foundational question for decades. His landmark work offers us invaluable models of what this negotiation requires of a photographer’s relationships with his or her subjects and community and with the field of photographic styles that might complicate the ethics of this endeavor, particularly for black subjects.

La publicación estudia la portada del s. XVI para la Iglesia de Santa Cruz de Medina de Rioseco (España), concluida por el arquitecto Pedro Mazuecos el Mozo dentro del debate sobre las proporciones geométricas empleadas en su composición arquitectónica. Parte del estudio de las primeras obras jesuíticas en la península Ibérica, y estudia las controversias sobre la belleza derivada del uso de unos u otras proporciones arquitectónicas entre el diseño copiado para la Iglesia en Roma del Gesú de Vignola,  del proyecto de Felipe Cájiga hasta las modificaciones finales de Pedro Mazuecos el Mozo. En trabajo se adentra en la explicación de la belleza en el origen pitagórico de las proporciones armónicas, y la búsqueda de esa belleza en el tratado Los Diez Libros de Arquitectura de  L. B. Alberti.

The Lost Art of Drawing non è un semplice titolo per un articolo o una mostra d' arte. L' editoriale di Michael Graves sul New York Times è anzitutto un grido di passione, di dolore e di responsabilità insieme. Non si discute sul concetto e la rappresentazione dell' architettura, intesa come arte, mestiere e professione, bensì sul suo divorzio dal disegno: una parte essenziale di un percorso mentale e creativo che nasce da un bozzetto estemporaneo, utile a catturare un' idea, fino al progetto finito. Un esercizio che trasforma l' immaginazione in materia.
La collezione dei disegni, custoditi nell' archivio storico dell' Accademia delle Belle Arti di Roma, che vengono portati a conoscenza del pubblico, ne prende le mosse e di quella voce ne è l' eco. Un risuonar felice di mani e di segni che sono il tratto delle alte scuole di formazione italiana.
L' Harvard Club of Italy non solo rappresenta una prestigiosa Accademia degli Stati Uniti d' America e la comunità dei suoi laureati in Italia, ma sostiene i valori dell' eccellenza e del merito. Come quelli degli studenti di architettura di oltre cento anni fà - successivamente riconosciuti nel mondo quali grandi architetti - che sono tra coloro i quali hanno fatto tra le cose più belle, sicuramente a Roma, ma non solo. Almeno prima e fintanto che, per troppo tempo, andasse in qualche misura
sfumando il senso della bellezza e del paesaggio che fanno dell' Italia il Paese ammirato che è.

Dal Saggio di Fabio Filocamo

Whilst the development of spiritual administration of Church of St. Nicholas in Velké Meziříčí (Moravia) since 1317 is reasonably well-documented, the same cannot be said about the record of building development. The oldest part of the church building is the external masonry of the current central and northern naves. This primary building phase can be dated to the third quarter of the 13th century. Renovation of the original choir area started in the first half of the 14th century, the work was however interrupted for some time, and the completion only occured at the end of the above mentioned century. The tower was built by constructor Jan in the first decades of the 15th century outside the western facade of the church. The vaulting of naves was only made around 1465 and after 1492. At the beginning of the 16th century the building development of the main parts of St. Nicholas Church was completed, thus silhouette in the centre of the town which is familiar to this day. Subsequent work was limited to partial repairs and renovations to the sacristy, oratory and others parts on the northern side of the building during the Baroque period.

This paper explores Ernesto Nathan Rogers’ concept on the relationship between art and architecture. It starts from the analysis of the last issue of Domus under his direction in 1947, widely dedicated to this relationship, with writings by Aalto, the Italian painters Campigli and Guttuso and an in-depth analysis on Max Bill among some others interdisciplinary studies. The paper shows how Rogers accepts and supports the language of Concrete Art (arte concreta) as the only solution for this dilemma between architects and artists. Born in Europe, the Concretismo found a significant development in Argentina where Rogers stayed in 1948 after having published the last Domus and encouraged the Italian “Movimento Spazialista” led by Lucio Fontana, who had returned to Milan from Buenos Aires during the spring of 1947. The circularity of these events proves the legacy of this issue of Domus and emphasizes the difference with Gio Ponti’s subsequent direction of the magazine.

The yearbook established in 2013 by the Polish Institute of World Art Studies in Warsaw, is an international scientific journal dedicated to the art and artistic culture of Central-Eastern and Eastern Europe, primarily from the 18th century to the present. The 7th volume of the annual is titled "20th-century Ukrainian Art and Polish-Ukrainian artistic relations". It contains articles that cover issues spanning the whole century and material from various fields of art: from Impressionist and Symbolist painting, Art Nouveau architecture, national trends in art and a quest for a new style, through avant-garde art of the 20th century and in emigration, through the realistic trends of the Socrealism to reach the art of the 1960s and 1970s, when the new oppositional trends emerged that included the artistic “underground” and expanded the art phenomena with the photographic experiments and use of the new media. The volume is edited by prof. Jerzy Malinowski, Ewa Sułek and Agnieszka Pospiszil and contains 31 articles by various authors.

The advent of the tea room during the adolescence of the department store is not of little significance. This short essay compares two chapters by different authors, from different books, exploring the ways that turn-of-the-century tea rooms and department stores introduced material wealth and 'feminine sensibilities' that complicated social hierarchies. Gender, class and perceived moral goodness play into a new social structure that valued specific behaviors and tastes. Though these new institutions played a supposedly democratizing or gentrifying role, we shall see they often precluded access to the very groups they were meant to elevate.