Painters

Ferdinand Velc was a painter, photographer and also very important person in the czech ethnography. By his camera he documented mostly the life of village peoples in some czech regions and also in Bosnia, where he teached in Sarajevo since 1895. Except the paintings and photos, Velc also wrote few publications. The largest one is about monuments in Slaný region (published in 1904) and also important is the Guide to Bosnia and Hercegovina.

Published in: Posel z Budče 31 (2014), Kladno 2014, pp. 71-72.

The works of the impressionist painter Ivan Grohar (1867−1911) are among the greatest masterpieces of Slovenian art and are important landmarks of Slovenian painting. Thee fact that some of his most re-nowned paintings, displayed today in the permanent collection of the National Gallery in Ljubljana, have a common provenance excites art historians’ curiosity. In 1926, when the first retrospective exhibition of Grohar’s work was held, these paintings (and some of Grohar’s other works) were in the possession of Franc Dolenc from Stara Loka near Škofja Loka (1869−1938). Scholarly literature on Ivan Grohar often mentions this timber merchant and industrialist as the painter’s patron and benefactor. According to some scholars, Grohar lived at Dolenc’s Štemarje Hotel in Škofja Loka from 1904 until 1910 or 1911. However, Dolenc did not buy the Štemarje Hotel until February 1908 and he leased it in June of the same year. It is also impossible to confirm Grohar’s stay at the Štemarje Hotel during the winter of 1908−1909. It has been established that he spent the winter of 1909−1910 in a rented room owned by Anton Kašman in Škofja Loka, who evicted him with his paintings in spring 1910. By November 1910, Grohar had actually moved to the Štemarje Hotel. However, in February 1911, he was admitted to the Ljubljana hospital and he died of tuberculosis two months later. His death certificate states that at the time of his death he was living at Franc Dolenc’s Štemarje Hotel in Škofja Loka, and only a few weeks later Dolenc claimed an unsettled debt of nearly 1,118 crowns, which was almost a third of the entire sum that Grohar owed to nine creditors altogether. The artist’s legacy consisted mainly of paintings, but hitherto it was difficult to research their fate because the legacy records are incomplete and the inventory with the legal valuation of the paintings could not be found. For this reason, it has been suggested that Dolenc might had acquired some of the paintings he possessed in 1926 before Grohar’s death. However, Grohar’s newly discovered estate inventory reveals that Franc Dolenc never purchased a single painting by Grohar before 1913. He also could not have obtained all of them as a debt settlement because the legal value of the paintings in question (2,475 crowns) was more than twice the amount of his claim. Thus, it can be assumed that between 1913 and 1926, this shrewd merchant invested his claimed debt together with an additional amount into an exquisite collection of paintings. With regard to Grohar’s stay at the Štemarje Hotel, this can be confirmed for only a short period before he entered the hospital. The answer to how he accumulated such a debt to Dolenc is hidden in a tiny notebook of Grohar’s, which contains a list of his creditors. Among them, Franc Dolenc is indicated with a substantial amount. Therefore, the debt he claimed after Grohar’s death originated in loans that were later settled through a legal process. This debt and the ownership of Grohar’s paintings enabled Dolenc to pass for the artist’s benefactor and patron, and this image was hitherto fostered not only by local tradition, but also by Slovenian art historians.

My undergraduate thesis tries to answer the questions which are linked to a specific work of
art, namely Leda and the Swan, painted between 1936 and 1938 in Zagreb by a Croatian
Secessionist painter Robert Auer. Taking a closer look at the social, artistic and stylistic
circumstances at the time, which affected the artist’s path, I also devoted myself to the broader
context of Auer's life and his education, provided by famous professors at the prominent
painting institutions in Zagreb, Vienna and Munich. Inside this framework, I tried to show the
impacts and role-models that are essential for artist's eclectic style. Furthermore, I took a closer
look at the story of Leda and the Swan and its origin in mythology, and tried to find and explain
the various versions from different writers. Therefore, I gave an overview and an iconographic
analysis of the motif in Central European Art – from preantics to the first half of the 20th
century. In the end, supporting my research with iconographic and stylistic analyses, I tried to
place the artwork inside the wide Bavarian – Viennese – Zagrebian »triangle«, and search for
similar artwork among his colleagues and inside his own work.

Quamrul Hassan, a Bangladeshi artist, is often referred to in Bangladesh as Potua, a word usually associated with folk artists, due to his down to earth style yet very modern in nature as he always added Cubism other than the folk style to his artworks.

The aim of this study is to determine the effects of the art of painting on music by using the methods of source scanning and comparison. In this research, interdisciplinary interaction was asserted from past to present and a study was made on paintings and painters who inspired the music. In addition, common periods and principals of music and painting were explored focusing especially on the 19th and 20th centuries where interactions between different art branches are extensive. Beginning from the Renaissance, the similarities in the periods of music and painting in the history of the art were searched, the examples of interdisciplinary interactions for each period was also investigated.
While interaction of music and painting was treated as versatility of composers resulting in reflection to their art, at the same time collaborator works were mentioned in the study.
In accordance with the results of the study, composing tradition had been maintained by Post-romantic, Impressionist and Expressionist composers by inspired paintings beginning with Liszt, the romantic composer creating the symphonic poem in the 19th century. In the context of interaction between different art forms, it was beholded that the paintings had not only inspired music but music had also inspired the art of painting. The size of this interaction differs in accordance with the, similarities of historical periods, subjective admiration, ideological thoughts, philosophical and figural manner.

Author P.G.Wodehouse wrote about paintings and painters. But did he actually knew painters in real life? And what was his relationship with Han van Meegeren, the Dutch forger? Based on a lecture at the Wodehouse Convention 2017 in Washington.

In English and Spanish. Catalog from the exhibition "Andrés Sánchez Gallque y los primeros pintores en la Audiencia de Quito" held at the Museo de Arte Colonial in Quito, Ecuador (2014). This is the galley proof. The footnotes for my article are unfortunately off by one number.
Catálogo de la exposición celebrada en el Museo de Arte Colonial en Quito, Ecuador (2014). Este es el machote. Lamentablemente, las notas al píe de página de mi artículo están corridas por un número.

Η Καλαμπάκα και τα Μετέωρα, καθώς και το επάγγελμα του πατέρα του, ως πηγή έμπνευσης του ζωγράφου Τζιόρτζιο ντε Κίρικο…
Kalabaka and Meteora (Thessaly, Greece), as well as the profession of his father, as a source of inspiration for the painter Giorgio de Chirico…

El mundo de las flores secas en la obra de Oswaldo Guayasamin Por: Lissandro Loor Solórzano ! El mundo vegetal en la pintura europea Desarrollo histórico y métodos de estudio FLORES SECAS "El siglo XIX latinoamericano había terminado a nivel de artes plásticas muy entregado a formas paisajísticas y costumbristas. Había una urgencia por catalogar el mundo americano en sus montañas o en sus valles, o también en los tipos de sus pobladores y el siglo XX encontró el arte latinoamericano rebosante de representaciones tocadas de romanticismo de lo que era el mundo americano. El indio, el gaucho, el oficial, la lavandera, el cura o el juez, o bien ciertos episodios de la historia o de pasajes literarios eran mecanismos de representación del universo entero que constituía la América Latina..."

Zainul Abedin, an artist of exceptional talent and international repute. He played a pioneering role in the modern art movement in Bangladesh that began, by all accounts, with the setting up of the Government Institute of Arts and Crafts (now Institute of Fine Arts) in 1948 in Dhaka of which he was the founding principal.
A short descriptive paper on - the famous works of one of the Great Masters of Bangladesh, Zainul Abedin and what he saw from his perspective

Most construction projects in Nigeria fail due to poor contractors' performance. Firms are concentrating on financial gains and forgetting the people that make the job and money. The problem of the industry is how to reconcile the need for a supply of manpower capable of high productivity in carrying out simplified sequential operations and retains a substantial number of craftsmen capable of highly skilled work. The study aimed at investigating the level and the hindrances to training, and to identify the best training types/methods that will optimize the productivity of construction craftsmen in the Nigerian Construction Industry. The study uses descriptive survey method; two sets of questionnaires were randomly distributed in four north-central states of Nigeria and Abuja to construction professionals and craftsmen. Percentages, severity and importance index were used for the analysis. The chi-square statistics used at 5% level of significance to test the research proposition formulated for the study shows an agreement within the respondent. The study revealed that: level of training among the four trades is very low, with an average training level of 37.21% and an average untrained level among the trades being very high at 62.79%. The older age groups had more training experience than the younger groups. Lack of standard type/method of training adopted for the Nigerian construction craftsmen and lack of encouragement and support for construction craftsmen are the most severe hindrances to training. Vestibule Schools and time release training are the most efficient types/method of training. The study recommend that construction craftsmen should be encouraged and supported for training and as well, vestibule schools and time release training methods should be adopted for training craftsmen in the Nigerian construction industry.

The purpose of this essay is to explore the methodology of oral history and to show how emotion plays an important role in it. While reading memory as a source material, one cannot do away with the influence of emotion. The selectivity of remembrance has mostly been guided by the sentiment of the interviewee. Good, bad, whatever we remember is part of our present emotional state of mind. This article will be a case study of a Patua village, called Naya, located at the western part of Medinipur, West Bengal, India. The Patuas are a community of scroll painters mostly living in the eastern part of India, West Bengal.

This paper is divided into two sections. The first section is on ‘ Space, time and authority’, where I have explored how being a migratory community, the Patuas exercise a sense of authority over the space they live today. It will also explore, how do they individually recall their first coming to Naya and how do they define their relationship with the place? In this process of remembrance, what role does sentiment play and how through these acts of recall do they constitute their identity and authority? The second part of the essay ‘ Lineage, time and identity’, explores the way they have reconstructed their own past through memories, and forged a common identity of being ‘Chitrakar’. The paper will explore how the interplay between memory and emotion plays an important role in the identity formation of this community of painters. In this process, this article will also explore the relation between myth making and memory.

El proyecto Tipometrías es una estrategia para salvaguardar el patrimonio histórico-artístico de los tipos móviles de madera, y difundir sus cualidades artísticas y culturales, mediante su incorporación a obras de creación artística.

Para ello se estudian los princiipios y la obra de los artistas de la abstracción geométrica, en Europa, España en particular, e Iberoamérica.

Se incluye un estudio de la trayectoria de los tipos móviles desde su creación en Oriente, hace casi mil años, hasta la llegada a Europa con el nacimiento de la imprenta, y conocer su evolución en nuestros días. Este recorrido es internacional pero se lleva a un estudio de la Imprenta y diseñadores de tipografías en España e Iberoamérica.

Finalmente se reproducen una gran parte de las obras realizadas para el proyecto, precedidas de la trayectoria de su autor.

Флікоп-Світа, Г.А. Іканастасы храмаў Мазырскага і Рэчыцкага паветаў першай паловы ХІХ ст.: праграма і аўтары-стваральнікі / Г.А. Флікоп-Світа // Духоўная спадчына Усходняга Палесся : зборнік навуковых артыкулаў / рэдкал.: А.М. Воінава (гал. рэд.) [і інш.] ; М-ва адукацыі Рэспублікі Беларусь, Гомельскі дзярж. ун-т імя Ф. Скарыны. – Гомель: ГДУ імя Ф. Скарыны, 2018. – С. 33 – 38.
На матэрыяле архіўных крыніц з Нацыянальнага гістарычнага архіва Беларусі (г. Мінск), Навуковага архіва Інстытута гісторыі матэрыяльнай культуры Расійскай акадэміі навук (г. Санкт-Пецярбург), Літоўскага дзяржаўнага гістарычнага архіва (г. Вільнюс) праведзена даследаванне праграмы іканастасаў, якія ўсталёўваліся ў цэрквах Рэчыцкага і Мазырскага паветаў у першай палове ХІХ ст. Выяўлены новыя, невядомыя дагэтуль у айчынным мастацтвазнаўстве імёны іканапісцаў і разьбяроў, які ў той перыяд працавалі над царкоўнымі заказамі на Усходнім Палессі.

During the Renaissance, religious and biblical art was portrayed in a myriad of different mediums and moods. The artist was careful in choosing the way in which they depicted their subject matter to fit in accordance to the patrons wishes, the configuration of the space, or even just in relation to their own previous works. And yet, regardless of choice, the psychology and presence of the artist materialized in the work in some form, whether it be literal, metaphorical, or both.This paper examines the physicality of blood in two famous depictions of Judith Slaying Holofernes and will use the concepts of gesture, tangibility, and the idea that every painter paints themselves to posit that Michelangelo Merisi di Caravaggio was actually more violent in life than in art, while Artemisia Gentileschi was more actively violent in her work.

* This paper was submitted for as the final project for a graduate class in the Art History department of the University of Toronto*

Bahriye Müzesi'nde üç ressam… Yüreklerinde vatan sevgisini derinden hisseden asker ressamlardan sadece üçü… Batılı anlamda Türk resim sanatının benimsenmesinde Sultan II. Mahmut önemli bir rol oynamış, yağlı boya portresini devlet dairelerine astırarak resim sanatı adına önemli bir adım atılmasını sağlamıştı. Sultan Abdülmecit ve Sultan Abdülaziz zamanlarında da resim sanatı gelişme göstermiş, sarayda Batılı ressamlar ağırlanmıştır. Kısa sürede gerçekleşen bu devinimin sebeplerinden biri askeri okullarda resim eğitiminin zorunlu tutulması olmuştur. Bu zorunluluk yüzünden resim eğitimine verilen ağırlıkla 19. yüzyıl başlarından itibaren alışıldık kalıpların aksine, perspektifi olan, saray konulu resimlerin dışında, yeni bir teknikle resim yapan " asker ressamlar " yetişmiştir. Mühendishane-i Hümayun'da topçu subaylarının yetişmesi için bile perspektif ve gölge dersleri verilir olmuş, kimi hocalar resim yapamayan bir subayın pek makbul sayılamayacağından dem vurmuştur. İlk Türk pentür ressamları çoğunlukla albüm fotoğraflarını resmederek işe başlamışlardı. Eğitime verilen ağırlıkla Osmanlı sanat çevresi gittikçe genişlemiş ve başarılı eserler üreten gençler toplumda sanatçı kimliğiyle yerini almıştır.

The French invasion of Egypt sparked a national passion for all of Egypt's ancient Pharaonic history. Napoleon not only came to invade Egypt, but brought with him more than 150 scientists, cartographers, artists, naturalists and even musicians and painters; Observing the details of ancient sites and existing customs, the result was the huge work "Description of Egypt", published between 1809 and 1829, in twenty volumes, containing about 900 inscriptions.
The French scientist François Arago (1786 - 1853) regretted that photography had not been invented yet. As he announced in Paris on January 7, 1839, he invented the photographic design designed by Louis-Jacques-Mandé Daguerre to copy millions of hieroglyphs covering the exterior of the great monuments at Thebes, Memphis, Karnak, etc., you'll need decades of hordes of painters, but with the invention of Daguerre, one person is enough to do so.
In announcing the invention of photography, Arago pledged to harness this invention in the service of science - and was intended to replace the cartoons of the book Description of Egypt; The attention of photographers, they showed the beauty of the region, as well as recording the landmarks of this civilization. These early photographers also presented a series of unique images of Egypt, thereby deepening the French public's sense of the greatness of the Egyptian civilization, and the world in general, with the legacy they documented. Thousands of years ago, they have stimulated those who will come after them to see all these tourist places, and the interest in the region, which has already increased with the development in the process of photography, which contributed to the increase of desire and see those places and take pictures of them.

With time, Painting throughout art history has modified itself in terms of its context and content. From early Renaissance to Postmodernism much has been written and critiqued on the discourse on painting. In Pakistani art painting, being a borrowed medium from the West, has been contextualized through cross-cultural interactions in the practices of early modernists. This paper investigates the grounds and circumstances this contextualization has occurred in. It deals with this by examining and decoding the formal and conceptual aspects of the work of early modernist, postmodernist and contemporary artists.

ÖZET
Rus Çarı Aleksandr'ın himayesinde sanat faaliyetlerini sürdüren ve Rus donanmasının başressamlığına getirilen İvan Konstantinoviç Ayvazovski, Sultan Abdülmecid, Sultan Abdülaziz ve Sultan Abdülhamid dönemlerinde İstanbul'a gelerek Osmanlı sarayı için resimler yapmış ve maharetinden dolayı taltif edilmiştir. Üç tarafı denizlerle çevrili eşsiz güzelliğe sa-hip İstanbul şehrinin, fırtınalı denizlerin ressamı Ayvazovski için bir cazibe merkezi olmasının yanı sıra, burada eserlerini de teşhir ettiği bilinmektedir. Binlerce tablo yapan Ayvazovski, Ermenilerin ve Rusların millî bir sanatkârı olarak tanınmakla birlikte, uluslararası kabul gören ve itibar edilen bir ressamdır. Ayvavzovski'nin uluslararası ebedî mirası olan Türk, Rus ve Ermeni tarihine dair tabloları, günümüzde farklı müzelerde sergilenmektedir. Ressamın çok sayıdaki eserleri arasında özellikle İstanbul'a geldiği dönemler-de yaptığı manzara resimleri de önemli bir yer tutmaktadır. Hayatının son evresinde Kefe' de Ermeniler lehinde ve Osmanlı Devleti aleyhinde giriştiği propaganda faaliyetleri her ne kadar Ayvazovski'nin Osmanlı sarayı ile ilişkilerinde bir kırılma noktası oluşturmuşsa da, ressamın sanatçılığı ve eserleri Türk toplumunda propaganda faaliyetlerinden daha etkili olmuştur. Bu çalışmada, resimleri Osmanlı saray çevresinde büyük beğeni kazanan Ayvazovski, farklı yönleriyle değerlendi-rilmektedir. Resssama gösterilen itibar, ihsan ve iltifattan bahsedilirken, onun kısaca aile çevresi ve sanat faaliyetleri ile İstanbul'a olan ilgisi ve seyahatlerine de yer verilmektedir.

ABSTRACT
Performing his art under the auspices of the Russian Tsar Alexander II and being appointed as the head painter of the Russian navy, Ivan Konstantinovich Aivazovsky had been to Istanbul three times during the reigns of Sultan Abdulmejid, Abdulaziz and Abdulhamid, and was honoured for his drawings made for the Ottoman palace. Istanbul, a city of unique beauty which surrounded by seas on three sides, was both an attraction for Aivazovsky and a showcase for his paintings. Having drawn thousands of paintings, Aivazovsky was not only a national artist of Armenians and Russians but also a character that had a global fame. As part of an international heritage, his paintings relating to Turkish, Russian and Arme-nian histories are exhibited in various museums. Among his numerous paintings, those landscape pictures that he drew during his days in Istanbul are particularly important. Though the propaganda Aivazovsky conducted in Feodosia against the Ottomans turned out to be a breaking point in his relations with the Ottoman palace, his art and work had greater influence among the Turks than the notorious actions he partook in. In this study Aivazovsky, whose drawings highly appreciated in the Ottoman palace, is reviewed in various aspects. As well as mentioning about the esteem, honour and compliment shown for the painter, the paper also refers briefly to his family, artistic activities, his interest in Istanbul and his travels.

ÖZ:
Sanat, sanatçı ve toplum birbiriyle etkileşim halindedir. İçinde yaşadığı toplumun bir üyesi olan sanatçı, yaşadığı çağın özelliklerinden, toplumunun kültürel dokusundan ve coğrafyasından beslenir ve etkilenirken ortaya koyduğu sanat eserleriyle de toplumu etkilemektedir. Bu çalışmanın odağında Türk resim sanatçılarından bir kesitle Trabzonlu ressamlar yer almaktadır. Araştırma ile içinde doğup büyüdükleri şehrin kültürel dokusu ve coğrafi konumunun Trabzonlu ressamlar üzerindeki etkileri irdelenmeye çalışılmıştır. Araştırma kuramsal ve sahaya yönelik bir birleşimi içermektedir. Kuramsal çerçeveyi sembolik etkileşimci sosyoloji bağlamında Howard S. Becker'in "sanat dünyaları" kavramı ve sanat sosyolojisine yaklaşımı; araştırmanın saha boyutunu ise Trabzonlu dokuz ressamla yapılan derinlemesine mülakatlar oluşturmaktadır. Araştırmada veri toplama yöntemi olarak önceden hazırlanmış yarı yapılandırılmış bir form uygulanmıştır. Araştırmanın amacına uygun olarak hazırlanan açık uçlu sorular ressamlara yöneltilmiş ve alınan cevaplar deşifre edilerek betimsel analiz yapılmıştır. Araştırmaya katılan sanatçıların resim sanatına yönelik geçmişleri, sanatsal üretimleri ve resim sanatına katkıları, Trabzon'un resim sanatına ve sanatçıya etkisi üzerine veriler derlenmiştir. Sanat sosyolojisi kapsamında, Becker'in 'sanat dünyaları" kavramından hareketle veriler değerlendirilmiştir. Anahtar Kelimeler: Trabzon, ressam, sanat, sanatçı, sanat dünyası.
ABSTRACT:
Art, artist and society interact with each other. The artist, who is a member of the society in which he lives, is nourished and influenced by the characteristics of his age, the cultural texture and geography of his society, and influences the society with his works of art. The focus of this study is on a cross-section of Turkish painting artists and painters from Trabzon. With this research, the effects of the cultural texture and geographical location of the city where the artists were born and grew up on the painters of Trabzon were tried to be examined. The research includes a combination of theoretical and field-oriented. The theoretical framework consists of Howard S. Becker's concept of "art worlds and his approach to sociology of art in the context of symbolic interactionist sociology. The field dimension of the research is in-depth interviews with nine painters from Trabzon. In the research, a semi-structured form was prepared as a data collection method. The open-ended questions prepared in accordance with the aim of the study were directed to the painters and the answers were deciphered and descriptive analysis was performed. The history of the artists participating in the research, their paintings, their artistic productions and their contributions to the art of painting and the influence of Trabzon on the art of painting and the artist, were compiled. Within the context of sociology of art, data were evaluated based on Becker's concept of 'art worlds".

~ Madame Rachilde, homme de lettres et reine des décadents - Benoît Pivert ( p.11 )
~ Comme un miroir - Valérie Constantin & Marta Cywińska ( p.20 )
~ Martine Broda - Eblouissements - Marie Sagaie-Douve ( p.33 )
~ Rodica Draghincescu, l’embossage de la langue - Denise Pelletier ( p.35 )
~ Falnnery O’Connor, la solitaire de Milledgeville - Benoît Pivert ( p.42 )
~ Duras, tout compte fait Duras, tout compte fait - Jean-Paul Gavard-Perret - Jean-Paul Gavard-Perret ( p.49 )
~ Une dimension différente - Ela Grzybek ( p.53 )
~ Ingeborg Bachmann, le désespoir en sourdine - Benoît Pivert ( p.59 )
~ Maria Nichita graveure roumaine - Denise Pelletier ( p.65 )

Mémoire de recherche de l'Université de Heidelberg.
Ce mémoire de recherche consiste en une étude des peintures égyptisantes du peintre russo-polonais Stefan Bakalowicz (1857-1947). Cette étude s'attache à établir le degré d'authenticité et de crédibilité des motifs représentés en retrouvant les sources d'inspirations archéologiques – aussi bien dans les collections égyptiennes européennes que dans les ouvrages égyptologiques utilisés par les artistes au XIXe siècle - dont Bakalowicz s'est inspiré (ou a pu potentiellement s'inspirer) pour réaliser la mise en scène et la reconstitution de l'Egypte ancienne. L'étude se concentre également sur la démarche artistique et le parti-pris de Bakalowicz en tant que représentant de l'académisme tardif au tournant du XXe siècle. Cette recherche repose sur l'étude de l'agencement, du choix et de la portée évocatrice de certains motifs particuliers ainsi que de la part de fantaisie au service d'une mise en scène théatrâle d'une Egypte passée.
Ce mémoire vise par ailleurs à discerner les éléments relevant de l'égyptomanie, de l'orientalisme ou encore d'un pur académisme tout en comparant l'oeuvre de Bakalowicz avec celle d'autres artistes égyptisants et orientalisants contemporains pour inscrire ce peintre dans l'histoire de l'histoire de l'art marquée en ce tournant du XXe siècle par l'importance grandissante de l'avant-garde.

Vous pouvez me contacter pour obtenir les annexes de ce mémoire de recherche (valentinjoseph.boyer@gmail.com)

The work of painters originating from the village Kapesovo, of the Ioannina region, was the subject of a Ph.D. thesis submitted to the University of Ioannina, by D. Konstantios. The author, among others, edits the content of twenty-five inscriptions written by the painters, in churches they worked at. In this paper we mention twelve more inscriptions by the same painters, already published by others, while rectifying some mistakes made in the edition of the other twenty-five. Finally we are offering a new interpretation of the content of the totality of the inscriptions, regarding mainly to the members of the family of the painters. The general conclusion is that there is only one family, numbering twelve of its members as painters, during the period 1728-1841.

Mario Alì e Tiziana D' Acchille, Presidente e Direttrice dell' Accademia di Belle Arti di Roma, e Fausto Servadio, Sindaco di Velletri, presentano la mostra Juana Romani: la petite Italienne. Da modella a pittrice nella Parigi fin-de-siècle, curata da Marco Nocca e Gabriele Romani, con Alessandra De Angelis, che si inaugura il 22 dicembre 2017 presso il Convento del Carmine di Velletri, dall' anno accademico in corso nuova sede distaccata dell' Accademia di Belle Arti di Roma, in collaborazione con la Fondazione Arte e Cultura Città di Velletri.
A centocinquanta anni dalla nascita di Juana Romani (Velletri, 1867 Suresnes, 1923) e per la prima volta in Italia, le due istituzioni intendono riscoprire, dopo quasi un secolo di oblio, l' opera e la figura dell' artista veliterna, affermatasi nei Salons con una pittura che nell' ultimo ventennio dell' Ottocento guarda alla grande tradizione seicentista, poi spazzata via dall' Impressionismo e dalle Avanguardie.

Nel Refettorio, sede della mostra, viene presentata una selezione di dipinti e sculture, rappresentative del suo ruolo di modella e pittrice: tra questi il grande Ritratto di Juana Romani, dipinto da Ferdinand Roybet, oggi in una collezione privata romana, e la conturbante ed enigmatica Figlia di Teodora, uno dei quadri più suggestivi della sua ricerca, proveniente da una raccolta francese. Un ricco materiale iconografico e documentario inedito (disegni, incisioni e periodici d' epoca) permette al pubblico di conoscere la fortuna dell' artista nel contesto della pittura dei Salons, e le sue affermazioni nelle Expositions universelles: Juana è forse la pittrice donna più celebre a Parigi dal 1895 al 1905. In Italia nel 1901, alla IV Biennale Internazionale d' Arte di Venezia la Romani espone Angelica, da cui non ottiene il successo sperato. Prolungando il suo viaggio fino a Velletri, riceve qui, nello stesso anno grandi onori, e dal 1905 l' intitolazione della scuola di Disegno applicato alle Arti e Mestieri, poi Istituto d' Arte, ancor oggi a lei dedicato nella città laziale, in corso della Repubblica.

L' ispirazione di Juana Romani, legata ad una profonda riflessione sull' universo femminile, è spesso rivolta a personaggi letterari (Angelica, dall' Orlando Furioso) donne celebri della tradizione biblica (Salomè) o note per vicende storiche (Bianca Cappello), cui l' artista presta le sue sembianze, in autoritratti di femminismo esagerato (Armand Silvestre). L' artista rifiuterà di far parte di associazioni di femmes peintres, rivendicando la parità di genere, conquistata sul campo nelle lotte con gli artisti uomini, quale profonda aspirazione del suo talento. Mina da Fiesole, ritratto in cui compare come una donna nei panni del celebre scultore rinascimentale, da lei ammiratissimo, vede la Romani anticipare le moderne teorie di abbattimento del gender: un' operazione di proiezione di sé in un artista uomo del passato che supera persino George Sand, l' ardita amante di Chopin e le sue mìses en travesti.
Catalogo edito da L' Erma di Bretschneider, a cura di Marco Nocca e Gabriele Romani, con Alessandra De Angelis. Schede di Francesca Sacchini. Introduzione di Mario Alì e Tiziana D' Acchille, Presidente e Direttrice dell' Accademia di Belle Arti di Roma, Fausto Servadio e Luca Masi, Sindaco e Assessore Comune di Velletri, Claudio M. Micheli, Direttore artistico Fondazione Arte e Cultura. Contributi dei curatori e di Consuelo Lollobrigida, Claire Bessède, Marion Lagrange, Emmanuelle Trief-Touchard, Diane Poirier, Laura Malosetti Costa e Georgina Gluzman, Cesare Erario, Pier Luigi Berto, Alain Delpirou, Alessandra De Angelis, Renato Mammucari, Umberto Savo.

Kosta Miličević (Vraka, 1877–Beograd, 1920) was recovering
at Corfu twice: in 1916–1917, and in 1918. In spite
of that, he was so weak that he succumbed to the Spanish fever
in 1920. He studied painting under Kutlik in Belgrade,
Ažbe in Munich, in private schools in Vienna, and again in
Belgrade. Kosta’s original technique which included short
brush strokes and a thick paint, as well as his charisma, made
him an admired leader of a group of young Belgrade impressionists.
His almost musical treatment of two motives: St.
Sava’s church before the war, and the landscapes of Corfu
during the war, places him, together with Nadežda Petrović
and Milan Milovanović, among the three most prominent
Serbian artists of that time. A retrospective exhibition of his
works was held in the Museum of Contemporary Art in Belgrade
in 1973-4

XI ANTONIO CABEZA Facción y mecenazgo en la Roma de Felipe II: una red castellana en la corte pontificia 1 MANUEL VAQUERO PIÑEIRO La chiesa di San Giacomo degli Spagnoli e la fiscalità pontificia nel XVI secolo 25 GAETANO SABATINI-RENATA SABENE Il finanziamento della costruzione di San Pietro e la Crociata di Spagna: interessi economici e relazioni diplomatiche tra Monarchia Cattolica e Chiesa di Roma 40 FERNANDO MARÍAS Pintura, diplomacia y censura en la Cappella Paolina: desde Toledo y Madrid hasta Roma 58 SILVIA DANESI SQUARZINA Becerra e il michelangiolismo in Spagna 87 FLAVIO RURALE L'élite regolare: morale e politica dei chierici di corte tra Cinque e Seicento 105 ALESSIA LIROSI L'influenza della spiritualità spagnola sull'arte monastica romana: il caso di San Giuseppe a Capo le Case 119 PAOLA PICARDI Il monastero di San Giuseppe a Capo le Case a Roma: committenti spagnoli, filospagnoli e artisti italiani 143 ANNA D'AMELIO Committenti spagnoli e artisti fiamminghi a Roma fra XVI e XVII secolo 160 LAURA GORI Una famiglia filospagnola tra Cinquecento e Seicento: i Caetani di Sermoneta. Dinamiche politiche e aspetti culturali 176 P D F A u t o r e A l e s s i a L i r o s i SABINA DE CAVI L'invio da Roma di un corredo per il battesimo di Anna d'Austria (1601): Pantoja de la Cruz, Bartolomé González e il ritratto degli infanti di Spagna all'epoca di Filippo III 193 DONATELLA GAGLIARDI Para una semblanza de la Monarquía española en las sátiras póstumas de Traiano Boccalini 231 ADOLFO CARRASCO El conde duque de Olivares, un nuevo Séneca. Estoicismo romano y cultura política barroca 245 LAURA FACCHIN Il cardinale Cesare Monti curiale romano e nunzio in Spagna: strategie artistiche e collezionismo 265 ÁNGEL RIVAS ALBALADEJO Viaje, casa, secretaría, celebraciones y algunos aspectos culturales de la embajada del VI conde de Monterrey en Roma (1628-1631) 310 DAVID GARCÍA CUETO La acción cultural y el mecenazgo de los cardenales-embajadores de Felipe IV en Roma: Borja y Albornoz 340 FRANCESCA CURTI La collezione d'arte di Juan de Córdoba, agente spagnolo a Roma al servizio di Diego Velázquez 362 PANAYOTIS K. IOANNOU «Con la solita curiosità di questi tali»: artisti e copisti nei servizi segreti spagnoli tra Roma e Madrid 393 ALESSANDRA ANSELMI Antiveduto Grammatica, Cassiano dal Pozzo e Vittorio Amedeo di Savoia: un dono per Margarita de la Cruz e un problematico, inedito, Sant'Agostino nelle Descalzas Reales di Madrid. Tra politica e devozione, l'espressione degli affetti 407 ANDREA SPIRITI Committenza e strategie artistiche e architettoniche dei cardinali lombardi nella Roma del Seicento 460

Petros Georgiadis was one of the most productive icon painters in the middle of the 19th c. He came from Ioannina, Epirus and had the advantage of being in close relation to the local Metropolis, being the Cantor there. He created dozens of icons always signing in a meticulously characteristic way. Nevertheless, only a couple of his signed murals have been preserved, in the city of Ioannina and on the Island of its lake. So, although his icons can be found in many villages of Epirus, as well as in Thessaly, Albania and Bulgaria, we can assume that he was not actually visiting these places. He was rather receiving orders and was painting in his workshop in Ioannina. In this way, the icons from the church of the Virgin in Paramythia were probably ordered because a new iconostasis was erected. Georgiadis painted from April till June 1853 eight large icons for the iconostasis and an icon stand. Each icon was paid for by a different donor although they were probably ordered all together. We should mention the icon of saint Donatus that seems to be Georgiadis’ innovative creation. Apart from these, he also painted two small icons of individual saints in 1854 and 1859 respectively.

Masaoka Shiki (1867-1902) è conosciuto per aver dato nuovo impulso allo haiku , attraverso la creazione di un nuovo ideale estetico: lo shasei (ritrarre dal vero.). Lo shasei, come stanno ad indicare i due caratteri che lo compongono, ossia “utsusu” “copiare”, “riprodurre” e “ikiru” “vivere” “esistere”, pone l’accento sull’osservazione diretta dell’oggetto artistico e sulla sua riproduzione oggettiva, realistica. 
  Le influenze che Shiki subì nell’elaborazione dello shasei furono diverse, ma una mi sembra sia particolarmente rilevante: quella della pittura.  In questo articolo mi propongo, quindi, di illustrare l’interesse del poeta sia verso la pittura giapponese che verso quella occidentale, e come questa sia riuscita ad influenzarne la poesia  a tal  punto che Shiki ritenne di poter trasferire il  vocabolario e le tecniche dall’una all’altra.

Текстът има за цел да фокусира вниманието върху условията в които е създадена монографията на д-р Евдокия
Петева-Филова „Никола Образописов“. Ще бъдат представени и
интересни факти относно принудителния престой на Филова в
Самоков. За целта авторът се опира както на документални източници, така и на разкази на свидетели от това време

It is generally accepted that in all cities in the Netherlands the art market fell into crisis after 1660. Yet when considering the craft of painting in a broader sense, some modifications are in place. A reconstruction of the entire Leiden painter community on the basis of the records of the local Guild of St Luke shows that the rapid decrease in the number of artists after 1660 was accompanied by an equally rapid increase in the number of kladschilders. As a consequence the total number of painters remained about the same towards the eighteenth century. The growth in the number of kladschilders was caused by a shift in the demand from easel paintings to decorative paintings. This development offered artists who were out of work a new opportunity and – based on the situation in Leiden – apparently many artists took this opportunity.

Issue 1/2021 contains a wide range of contributions - Kateřina Smyčková analyses the surprisingly close relationship of the songs of Czech exiles from the end of the 17th century to Catholic hymnbooks. Jaroslav Stanovský presents Maximilian Count Lamberg as a "cosmopolitan between Europe and Moravia". Radka Heisslerová analyses an interesting source - the 1770/1771 census of the population of the New Town of Prague - in relation to painters and similar professions. And last but not least, the study by Vít Pecek deals with an extremely topical subject - the priestly celibate as discussed by Czech theologians of the 18th century.
Cornova is a peer-reviewed professional journal focusing on 18th century research. It is published twice a year by the Czech Society for Research on the Eighteenth Century and the Institute for Czech Literature of the Czech Academy of Sciences. Since its foundation in 2011, Cornova has been an international scholarly journal with an emphasis on Central Europe in a broader context. The aim of the journal is to present methodologically sophisticated studies based on original research and touching upon current issues in eighteenth-century scholarship and to promote their theoretical reflection. The journal publishes texts in Czech, English, German and French with abstracts in English.

Αντικείμενο της ανακοίνωσης είναι η παρουσίαση του έργου των ζωγράφων της οικογένειας Χωραφά από το Λοζέτσι (Ελληνικό) Ιωαννίνων, μέσα από τη δημοσίευση και το σχολιασμό των επιγραφών τοιχογραφιών και μιας εικόνας που χρονολογούνται στο διάστημα 1730-1768. Πρόκειται για ένα οικογενειακό συνεργείο ζωγράφων, στο οποίο όμως συμμετείχαν ευκαιριακά και άλλοι ζωγράφοι και το οποίο παρουσιάζει έντονη κινητικότητα μεταξύ Ηπείρου, νοτιοδυτικής Μακεδονίας και βόρειας Θεσσαλίας.

This paper presents the works of the painters belonging to the family Chorafas, originating from the village Lozetsi, situated in the area of “Katsanochoria” of the Ioannina region. This will be achieved through the annotated edition of the inscriptions of their mural paintings and an icon, dated in the period 1730-1768. The Chorafas family had formed a familialy tied artistic workshop, in which occasionally other painters participated as well. The workshop was characterized by intense movability between areas of Epirus, southwest Macedonia and northern Thessaly.