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ART AND ICONOGRAPHY OF LIFE AND DEATH
Full text linkAs artes fi gurativas exigem dos seus estudiosos a observação e identifi cação dos temas representados através de duas disciplinas auxiliares, a Iconografia e a Iconologia, muitas vezes confundidas uma com a outra. Foi Erwin Panofsky o grande historiador da Arte, que distinguiu estes conceitos em “Estudos de Iconologia”, em 1939. A “Última Ceia” de Leonardo da Vinci, revela uma interpretação muito renascentista das atitudes dos apóstolos, que manifestam magistralmente a dúvida que corrói a assembleia quando Cristo anuncia a traição de um dos seus. Esta duplicidade de atitudes invade todas as épocas artísticas, quando os mesmos elementos gráfi cos podem ser interpretados de formas diametralmente opostas, caso do “carpe diem” greco-romano que se converte nas “danças macabras” da Idade Média, associadas à condenação da “Vanitas”.Sempre e sempre, a lembrança da morte inevitável, a influenciar os comportamentos humanos, tanto pela busca do prazer enquanto é tempo, como pela preparação de uma boa e virtuosa morte, recompensada num problemático Além.Figurative arts demand the observation and identifi cation of depicted themes through the two auxiliary subjects, Iconography and Iconology, which are often mistaken one for the other. Erwin Panofsky, the eminent Art historian, was the one who discerned these concepts in his 1939 work “Studies in Iconology”. Leonardo da Vinci’s “Last Supper” shows a very typical Renaissance interpretation of the Apostles attitudes that masterly depict the doubt which seized the assembly when Christ announces the treason of one of them. This duplicity of attitudes is found in all artistic periods when the same graphic elements can be interpreted in completely opposed ways, for exemple, the Greco-Roman “carpe diem” which turns into “danse macabre” during the Middle Ages associated to the “Vanitas”. Always the presente idea of the inevitable death infl uencing human behaviour, not only the search fot pleasure while we are alive but also the preparation for a good and virtuous death, rewarded in an uncertain Paradise
A MASTERPIECE OF A ROMAN SILVERMITH: THE FORTY MARTYRS OF BRAZIL
Full text linkIn questo testo presenterò e discuterò un pezzo mai studiato prima: una metà del diciassettesimo secolo medaglione romano raffi gurante “I 40 martiri del Brasile”, realizzato in bassorilievo d’argento, quello appartiene alla SS. Nome della chiesa di Gesù a Roma.In this text I shall present and discuss a piece never studied before: an half-seventeenth century roman medallion representing “The 40 martyres of Brasil”, made in silver bas-relief, that belongs to the SS. Name of Jesus church in Rome
BETWEEN SURVIVALS AND DISPLACEMENTS: THE IMAGE AND THE PHANTOM IN ABY WARBURG
Full text linkInvestigam-se, neste trabalho, as contribuições do historiador da arte, da cultura e teórico da imagem alemão Aby Warburg (1866-1929), entendendo a obra warburguiana como uma autobiografi a, a partir da perspetiva do conceito de “biografema” do fi lósofo francês Roland Barthes (1915-1980). Pretende-se discutir as contribuições de Warburg para o campo da História da Arte a partir da análise das imagens e de seus deslocamentos sintomáticos no campo da representação simbólica, principalmente sobre o conceito de sobrevivência. Investigam-se as operações imagéticas e historiográfi cas transdisciplinares e trans-históricas de Aby Warburg, abordando a complexidade dos objetos artísticos e de suas temporalidades, além de suas potencialidades para novas metodologias na História da Arte.This work investigates the contributions of the Art and Culture historian and image theorist Aby Warburg (1866-1929), understanding Warburg’s work as an autobiography, through the perspective of the “biographem” concept by French philosopher Roland Barthes (1915-1980). It aims to discuss Warburg’s contributions for the Art History fi eld from the analysis of the images and its displacements, mainly about the concept of survival. It seeks to investigate Aby Warburg’s transdisciplinar and trans-historical imagetic and historiographic operations, approaching the complexity of the artistic objects and their temporalities, also its potentialities for new methodologies in Art History
CRITICAL DISCOURSE OF AFRICAN VERNACULAR ROOTED IMAGERIES IN PITIKA NTULI’S SCULPTURES
Full text linkMy paper presents a critical discourse on African vernacular rooted imageries in the contemporary sculptures of Ntuli, the ideas they convey to viewers and how Africanness is indicated in each depiction produced between 2007 and 2016. I read Ntuli’s contemporary sculptures as African vernacular rooted because he appropriates in them cultural imageries from engagement with African contexts. Five images of his sculptures and installations were purposively selected for thematic and visual analysis. I adopt visual hermeneutics theory, formal analysis and cultural history methods for the reading of each work. The narrative reveals that Ntuli’s vernacular imageries reflects black South African men and a woman rooted in past and present socio-political events in South Africa. The thematic interpretations of the imageries reveal ideas on massacre not merely during apartheid but in post-apartheid South Africa, torture of victims detained without trial, anti-racialism and reflection on a historical hero from Zulu culture.My paper presents a critical discourse on African vernacular rooted imageries in the contemporary sculptures of Ntuli, the ideas they convey to viewers and how Africanness is indicated in each depiction produced between 2007 and 2016. I read Ntuli’s contemporary sculptures as African vernacular rooted because he appropriates in them cultural imageries from engagement with African contexts. Five images of his sculptures and installations were purposively selected for thematic and visual analysis. I adopt visual hermeneutics theory, formal analysis and cultural history methods for the reading of each work. The narrative reveals that Ntuli’s vernacular imageries reflects black South African men and a woman rooted in past and present socio-political events in South Africa. The thematic interpretations of the imageries reveal ideas on massacre not merely during apartheid but in post-apartheid South Africa, torture of victims detained without trial, anti-racialism and reflection on a historical hero from Zulu culture
A CANOPY FROM THE PORTUGUESE MEDIEVAL MONASTERY OF BATALHA: A SINGULAR EXAMPLE OF MICRO-ARCHITECTURE IN THE CLOISTERS COLLECTION
Full text linkThe MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies.
This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha.The MET Cloisters acquired a peculiar architectural canopy in 2016 that belonged to the main portal of the medieval monastery of Santa Maria da Vitória in the Portuguese village of Batalha. This piece, now in New York, surmounted one of the twelve statues of the Apostles. In the 19th century, during restoration works, the portal was altered from its initial dimension and many of its original sculptural elements were replaced by copies.
This research note intends to trace the current location of all the original elements, in both public and private collections, as well as their path in the art market. It also analyzes how this canopy represents a unique example of micro-architecture, relating its composition to the monastery’s architecture. The canopy seems to allude to the dual function and meaning of the Portuguese medieval monastery: the divine temple is represented by the five small buildings and their tile-roofs, as the church’s chevet with five radiating chapels; and royal funerary place as represented by the vertical segment, a sectioned octagonal volume evoking King John’s funeral chapel. In its simplicity and micro-scale, this canopy displays remarkable artistic quality, constituting an excellent example of the fourteenth-century production led by the master Huguet in the Portuguese construction site of Batalha
TWO PORTRAITS PAINTED BY ABEL MANTA
Full text linkDuas telas inéditas de Abel Manta (1888-1982), pintor modernista português, representando o Engº Celestino Rodarte de Almeida e sua filha, Maria Julieta Rodarte de Almeida Veloso.Two unpublished canvases by Abel Manta (1888-1982), a Portuguese modernist painter, one of them a portrait of Engineer Celestino Rodarte de Almeida, the other of his daughter Maria Julieta Rodarte de Almeida Veloso
