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Monumenti storici e artistici della città dell’Aquila e suoi contorni by Angelo Leosini (1848) as a digital semantic corpus online
Get PDFMonumenti storici artistici della città di Aquila e suoi contorni colle notizie de’ pittori scultori architetti ed altri artefici che vi fiorirono (L’Aquila 1848), a book by Angelo Leosini, addresses the theme of the city’s identity through the description of its monuments, with the explicit purpose of tracing the history of L’Aquila’s art for the very first time. Starting from the digitisation and transcription of Leosini’s personal, densely annotated copy in the Biblioteca ‘Salvatore Tommasi’ in L’Aquila, the research project will be rendered in its layered complexity through the publication online of the author’s personal copy ––transcribed, annotated, and with hypertext links to bibliographical and iconographical information supported by advanced user-assisting techniques for searching semantic information
Project work for a digitisation of testimonies regarding the cult of St Berardo of Teramo
Get PDFThe aim of this project, developed by the conclusion of the Summer School, is to recompose a corpus of sacred images and texts concerning the cult of St. Berardo, the holy patron of Diocese and town of Teramo. This interesting corpus was produced under the episcopates of Vincenzo Bugiatti da Montesanto (1592–1609) and Giambattista Maria Visconti (1609–1638), aimed to liturgical or devotional use in the Cathedral, and preserved in the same church or in its archive
Venice and the Adriatic side of the Kingdom of Naples: imports and influences of Venetian art
Get PDFThis project proposal is for the application of IT tools in order to consider a “cross-media” translation of data obtained, so that they can be used as an alternative to simple textual consultation, with respect to the reconstruction of the geography and history of Venetian works of art in the Adriatic regions of the Kingdom of Naples between the Middle Ages and the early modern age. The overall aim of the work is namely to carry out an analysis of Venetian presences and influences in the artistic production of Abruzzo, Molise and Apulia, also considering the transversal relations of this area with the Balkan regions under Venetian rule
Andy and Julia in Rusyn: Warhol’s translation of his mother in film and video
Get PDFAndy Warhol’s first language was Rusyn, an East Slavic language related to, but distinct from, Russian and Ukrainian. His mother, Julia Warhola, spoke Rusyn with Andy all her life. Warhol taped her Rusyn-language discourse and oral narratives in three unreleased Factory Diary videos, which provide insight into Julia’s personality, Warhol’s biography, and the mother-son relationship. Warhol’s film from 1966, The George Hamilton Story, popularly known as ‘Mrs. Warhol’, featured his mother speaking heavily accented English, which Warhol exploited for cinematic comedy. Viewers familiar with Julia’s speech style and the Carpatho-Rusyn context discern a serious effort at communication on her part, which is thwarted by Warhol’s defamiliarization, resulting in what Warhol called creative ‘transmutation’
Warhol in translation, Stockholm 1968: “many works and few motifs”
Get PDFThe essay explores aspects of translation in connection to Andy Warhol’s first major exhibition in Europe, at the 1968 Moderna Museet in Stockholm, Sweden, viewed as a unit of verbal as well as visual texts. The catalogue performed translation as such, of phrases attributed to Warhol. While translation tends to be understood as a functional mode of transport of original meaning to any position, this study, following the theories of Michel Espagne, focuses on how the show was ‘coded’ into the new space, something which is here contextualised through an exhibition project in Sweden occurring the previous year, Multikonst. The concept of repetition is found as the core message of this translation. It has been argued that the Warhol show had a general negative response locally, but on the contrary, it appears to have resonated well both in intellectual circles and in the Swedish art world in general. In addition, Warhol’s exploration of ‘queer’ identity in his films was discussed openly in Sweden
The study and dissemination of an iconography: banquet scenes from the catacombs of Rome to the facsimile catacombs of the nineteenth century
Get PDFThe text traces the discovery and the history of two important banquet scenes from the Roman catacombs (from the Catacombs of Callixtus and from the Catacombs of Priscilla). It focuses on the interpretations given to the scene from the 19th century onwards and on its fortune in Europe: reproductions of the scenes found in various churches and chapels up to the middle of the 20th century are here presented. This overview will be useful to understand how the study and reproduction of a single iconography can contribute to a general reconstruction of the development of the discipline of early Christian art history
Letter from Otto Pächt to Meyer Schapiro concerning ‘national constants’ (1934) trans. Christoph Irmscher. Originally published in its original German with English translation by Christoph Irmscher in Karl Johns, ‘Austrian Art-Historical Method in the United States: Meyer Schapiro and Emil Kaufmann’, Ideas Crossing the Atlantic: Theories, Normative Conceptions and Cultural Images ed. Waldemar Zacharasiewicz and Christoph Irmscher, Sitzungsberichte der philosophisch-historischen Klasse, Vienna: Austrian Academy of Sciences Press, 2019, pp. 385-412.
Get PDFWhile I was working on the evolution of Austrian Gothic panel painting, I realized that the whole material could be sorted into multiple genealogies, each of which corresponded to a particular (regional) mode of production, and that within these different genealogies there was always one constant factor. This constant factor wasn’t something that could be defined by identifying certain homogeneous, regularly or frequently recurring forms. It wouldn’t do either to characterize this constant factor as a specific attitude towards a particular contemporary style or as a particular mode or point of view, the term ‘constant factor’ also implies a constant reflected in the object that is being made. Of course, we are not talking about something that remains the same externally. Rather, one has to imagine a kind of shared ideal, present to the different artists in a variety of vague formulae, which more or less explicitly guides the process of creation and appears, through a constant flux of viewpoints, in ever new guises but in fact remains the same and has to appear differently (and filled with new content) only because, like any ideal conception, it is only roughly approximated in each particular act of creation, so that some unfulfilled demand always remains, which then serves as an incentive for new developments
Flying to the moon, or flying too close to the sun: Failure in the Digital Humanities
Get PDFIt is surprising how difficult it is to share hard-won wisdom regarding the Digital Humanities, even in the context of scholarly and academic institutions. Yet this cone of silence and evasion impedes progress, without question, yet it is not clear at all what can be done about this issue if institutional figures feel they cannot talk about it
Digital Humanities 1981–2021: A personal timeline
Get PDFFuture generations of Humanists will likely have no clue of how the Digital Humanities developed so key recollections are here set out in a personal timeline that perhaps can serve as a reference in the future for historiography as experienced by an art and architectural historian
Between mysticism and industry: Breuer, the Benedictines and a binder
Get PDFIn much of the recent literature covering the interaction between religion and aesthetic modernity, modern ‘sacred’ architecture has been understood as an initiative to safeguard an autonomous, separate notion of ‘sacred space’ against the reifying effects of a technocratic modernity. Within this historiographic lens, modern ‘sacred’ architecture is placed in opposition to what the historian of religion Mircea Eliade refers to as the ‘junk space’ of modern profane architecture. However, when examining the conceptual interactions between the Benedictine monks of Collegeville in Minnesota and the Bauhaus-trained architect Marcel Breuer during the course of their collaborative project for an Abbey Church in their religious community (1953 – 1961), a more nuanced picture of the interaction between ‘functionalist’ (modern) and ‘symbolist’ (pre-modern) ideas emerges. Drawing on a key series of documents Breuer collated in a binder throughout the course of the project, this article unpacks the way in which key terms such as ‘functionalism’ and ‘symbolism’ were negotiated across this cultural divide. The first part of the article examines the extent to which Breuer’s architectural design at St John’s could be considered ‘symbolic’. The second part interrogates the reasons behind the rejection of a design for the main window by fellow Bauhäusler, Josef Albers. The article concludes with a coda on how the arguments mobilised throughout the collaboration questions key tenets of much of the historiography which has informed discourses on modern ‘sacred’ architecture
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