Man and Culture - rubric History of art
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MAIN PAGE > Journal "Man and Culture" > Rubric "History of art"
History of art
Dyadyunova N.A. - The Frontal of Sant' Marti de Puigbo and the Saint Martin of Tours Iconography in the Catalan Altar Painting Tradition pp. 23-34

DOI:
10.25136/2409-8744.2022.3.38220

Abstract: The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the frontal of Sant' Marti de Puigbo with the special cult of Saint Martin of Tours in the Catalan Comarques, as well as with his patronage of the counts of Barcelona. In the course of the study, the author concluded that the creation of the Frontal Sant' Marti de Puigbo is connected with the reign of Count Ramon Berenguer III of Barcelona, whose patron saint was Saint Martin. This conclusion made it possible to more accurately date the frontal from the church of Sant'marti de Puigbo. The connection between the veneration of the cult of St. Martin and the activities of Ramon Berenguer is evidenced by archival documents, as well as some monuments dedicated to St. Martin located in the territories controlled by the Count of Barcelona. The analysis made it possible to link the iconography of St. Martin on the frontal from Puigbo with the iconography of Ramon Berenguer III on the tombstone of the count from the monastery of Santa Maria de Ripoll, which also allowed the author to conclude that the frontal and the sculptural tombstone could have been made in the same workshop. The novelty of the research lies in the fact that no attempt has yet been made to completely reconstruct the context of commission of this example of the Catalan altarpiece painting and determine the exact time and place of its creation.
Stroy L.R. - Influence of artists-prisoners of war of the First World War on the artistic life of Krasnoyarsk pp. 25-34

DOI:
10.25136/2409-8744.2017.4.24010

Abstract: The object of the study is the artistic life of the city of Krasnoyarsk during the First World War. As a subject of the study, the role of foreign artists-prisoners of war in the creative processes of the Siberian province (1914-1920) is studied. The activities of the prisoners, influencing the regional history of art has not been studied, although it is clear that the long stay of foreign masters in the Siberian camps, manifested in the artistic process of the Russian periphery, affect the creative search of local artists, significantly affected the Siberian culture. Using an interdisciplinary approach and methods of synthesis and analogy, isolated and little-known information together in holistic subjects and recreate the artistic processes of the city. In historical reconstructions, the role of prisoners of war becomes apparent and is associated with the introduction of various artistic traditions, the influence on local art education, the activation of the exposition process. In general, during the First World War it was the enrichment of the local creative gene pool, allowing the artistic life of the city to avoid stagnation and dynamic development not only in the period in question, but also refined at the subsequent stages of history.
Vasilyeva V.V. - Utopia of space in the book graphics by Francisco Infante pp. 62-71

DOI:
10.25136/2409-8744.2022.1.37472

Abstract: The subject of this research is the book illustration by F. Infante in comparison with his graphics and easel works. The object of this research is the image of space in the book illustration by Francisco Infante. The research employs the popular science and science fiction publications illustrated by Francisco Infante, as well as his graphics and painting. The article examines the specificity and uniqueness of the image of space in the artist’s works. Attention is given to comprehensive comparison of this image in the book illustration with the more extensive context F. Infante’s works. Based on the example of book graphics and analysis of theoretical concepts of F. Infante, the article aims to reveal the distinctness of his representations of space from the perspective of the utopia of relations between man and the Universe, as well as to determine how illustrations on this topic fit into the general context of the works of the artist. The main conclusion lies in description of the unique approach of F. Infante towards the indicated topic. The artist referred to the main motifs from his graphics and easel painting; however, modified them according to the specificity of plotline of the illustrated publication. Special attention is paid to the artist's preferred shapes: spiral and dot, with allowed reflecting the idea of the infinite space. The novelty of this article consists in reference to the material that has not yet been used for comprehensive scientific work in the field of art history. The author is first to introduce into the scientific context the book illustration by Francisco Infante on the space theme.
Khripkova E. - Image of the invisible world in iconographic program of the mosaic of oratory in Germigny-des-Prés pp. 100-109

DOI:
10.7256/2409-8744.2016.4.19960

Abstract: The subject of this work is the iconographic program of the mosaic of apse of oratory of the Abbey Theodulf in Germigny-des-Prés. The object of this research is the oratory of the Abbey Fleury and Bishop of Orleans Theodulf in Germigny-des-Prés – a unique heritage of the Carolingien era, which not only allows touching the historical source as a priceless document and witness, but also raises multiple questions. The discussion field consists not only from the aspects of preservation of heritage, state and dating of the fragments of its decoration, but also the program of mosaic which is noted for a unusual iconographic and style of performance. In the presented research based on the iconographic method and interdisciplinary approach, the author analyzes the Old Testament images of Theodulf’s mosaic, comparing them with the texts of the Holy Scripture. The author examines the modern perception on the discussion iconographic program of the mosaic of apse of the oratory in Germigny-des-Prés and suggests its own version of explanation of Theodulf’s iconographic scheme, which complements the already existing interpretational picture. It is demonstrated that the Ark of the Covenant is the main conceptual object of this program, and the invisible Glory of the Lord that is present between the cherubs of the Ark is closely connected to the liturgical symbolic.
Skvortova E. - Allegorical program of the Portrait of Empresses Anna Petrovna and Elizabeth Petrovna from the Marly Palace in Petergof pp. 113-120

DOI:
10.25136/2409-8744.2019.5.30619

Abstract: This article attempts to interpret the allegorical program of the recently introduced into the scientific discourse “Portrait of Empresses Anna Petrovna and Elizabeth Petrovna”, painted in 1721-1723 by the court artist Louis Caravaque (1684, Marseilles – 1754 Saint Petersburg) for the Marly Palace in Peterhof, as gauged by the photograph from the Scientific Archive of the State Museum-Reserve "Petergof” and a replica of the unknown artist from the Museum of Visual Arts of the Republic of Karelia (Petrozavodsk). The attributes of the models are interpreted in the context of the European traditions of emblem studies and iconography, which were known in Russia. The ordered for private interior portrait was meant for decorating the personal space of the monarch. In the portrait of Peter’s dearly loved daughters, the artist used symbolism and compositional solution reflected in the widespread version of allegorical iconography of the concept of Pax (peace) in a form of two female figures with corresponding attributes, which was relevant for Russian due to the Russia’s triumph in the Great Northern War and requested in 1723 by S. Raguzinsky in direct order of Peter sculptural group of Pietro Baratta. Celebrations dedicated to the Treaty of Nystad in the beginning of 1722 in Moscow concurred with the Name Day of Anna and announcement of Elizabeth’s age of majority. The creation of portrait could be associated with award the title of Tsesarevna for the daughters of Peter. It is not unlikely that the dominant role of Anna in the portrait could be not due to her seniority, but the plans that she would become the dynasty heiress.
Meretskaya Y.S. - The analysis of artistic heritage of Anton Ažbe in light of the new facts pp. 149-160

DOI:
10.25136/2409-8744.2020.1.29726

Abstract: The object of this research is the artistic heritage of Slovenian painter and teacher of painting Anton Ažbe (1862-1905) and its interpretation in the works of art historians and testimonies of his students and contemporaries. The subject of this research is the graphic and painting works of Anton Ažbe. The goal consists in reconsideration of the existing within modern art history understanding of the vector of creative path of the painter. Particular attention is given to his painting “The Black Girl” and clarification of the date of its creation. In the course of writing this article, the author applied the method of formal-stylistic analysis for meeting the precise purpose of the article. The scientific novelty of this study consists in reinterpretation of creative development of the Slovenian painter and teacher of painting Anton Ažbe based on the new information of the date of creation of one of his signature paintings – “The Black Girl”. The main conclusion lies in characteristics of the evolutionary stages of creative development of Anton Ažbe.
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