350 research outputs found
Oral history interview with Madonna Commo, 2015
No full textTranscript of an oral history interview with Madonna Commo, conducted by Sarah Yahm at the Sullivan Museum and History Center on 30 March 2015, as part of the Norwich Voices oral history project. The interview focuses on Commo's experiences working at the barbershop at Norwich University for the past thirty years
Madonna as Gay Icon
No full textA new wave of gay icons points to some of the changes that have occurred regarding the acceptance of homosexuality within society. The gay rights movement of the past has fought and won many battles, securing for today's gay men a much safer social and political environment than that of Garland's time. Gay icons are no longer tragic "victims." There are plenty of female performers who, like Madonna, "brim with self-confidence," but do not hold the same status within the gay community. So what is so attractive to gay men about Madonna? What type of relationship do gay men have with their contemporary icon? Are gay male consumers manipulated by the culture industry? Is Madonna solely synonymous with profits? If so, does this matter in terms of her relationship to gay males or gay activism? The author seeks to combine theory and interviews to offer a tentative sociological understanding of why Madonna is such a powerful figure in the gay male community. Methodology includes an exploration of the relationship between the consumer and the object of consumption within popular culture, as well as a survey of 52 self-identified gay men
LA MADONNA ESTERHAZY DI RAFFAELLO
No full textLA MADONNA ESTERHÁZY DI RAFFAELLO A PALAZZO MARINO, di Francesco Murano,
Fotografie di Sergio Oriani
Il curatore della mostra, Stefano Zuffi, ha voluto inquadrare criticamente l’opera di Raffaello
proveniente dal Museo di Budapest, ponendola tra la Vergine delle Rocce di Francesco Melzi,
proveniente dall’Istituto delle Suore Orsoline di Milano e la Madonna della Rosa di Giovanni
Antonio Boltraffio, proveniente dal Museo Poldi Pezzoli della stessa città. L’architetto Corrado
Anselmi ha progettato un affascinante allestimento, concependolo come un percorso che si
sviluppa attraverso tre soste utili all’ammirazione delle opere. L’autore Francesco Murano,
spiega con ricchezza di particolari i vincoli del progetto illuminotecnico e le scelte luministiche.Once again, for the Christmas season, the Municipally of Milan decided to display an important work in the frame of the Palazzo Marino’s Alessi Hall. For this year 2014, the choice has been to propose the Estheràzy Madonna by Raphael, from the Museum of Budapest.
The exhibition curator, Stefano Zuffi, wanted to critically frame to work of Raphael by placing it between the Vegine delle Rocce (Virgin of the Rocks) by Francesco Melzi, coming from the Milan’s Istituto delle Suore Orsoline, and the Madonna della Rosa by Giovanni Boltraffio, from the Milanese Museo Poldi Pezzoli.
The Architect Corrado Anselmi designed a fascinating display, convinced as a path that develops through three stops that are useful for the enjoyment of the works.
The author Francesco Murano, explains with many details the lighting design project
The House of the Black Madonna in Prague
No full textThis thesis takes a close look at the cubist House of the Black Madonna in Prague, designed by the architect Josef Gočár and built in 1912. After introducing the theme and literature the author focuses on the history of the building, its analysis (description of the project, plan and both the exterior and interior). Later the author mentions and assesses expert opinions, direct comments on the building in articles or contributions in books concerning cubism or cubist architecture. This thesis also mentions one monography written on this building by Marie Platovská. After assessing the building the author smoothly continues with European architecture, more so its development and placement of the House of the Black Madonna into the European context. The author also tries to outline the international scale of development in present architecture, meaning to highlight the "cubist" buildings of today. The beginning of the present is "set" approximately from the 60´s until 2014. The buildings mentioned in this context are chosen according to their common elements edges or slanting surfaces, that can refer directly or non-directly to cubist architecture. The author also mentions the biography of the architect Josef Gočár and his work. The conclusion includes an overall assessment of the House of the Black Madonna. The thesis is concluded by a bibliography and a pictorial supplement
Grajjiet is-Santwarju tal-Madonna tal-Grazzji
Full text linkContents: Xewqa mitmuma - Mit-tempji pagani ghas-Santwarju tal-lum - Santwarju li jfakkar fil-grajja tal-ordni u ta' missirijietna - Strangieri devoti tal-Madonna - Mir-registru tal-offertiThe Sanctuary of Our Lady of Divine Grace is without doubt the most prominent building in Zabbar. The author gives a detailed description of the history of the Zabbar Sanctuary and illustrates important facts on the history of Zabbar.
Is-Santwarju tal-Madonna tal Grazzji huwa bla dubju l-aktar bini prominenti fiż-Żabbar. L-awtur jagħti deskrizzjoni dettaljata tal-istorja tas-Santwarju u jaghti fatti importanti dwar l-istorja ta’ Zabbar.
Contents: Xewqa mitmuma - Mit-tempji pagani ghas-Santwarju tal-lum - Santwarju li jfakkar fil-grajja tal-ordni u ta' missirijietna - Strangieri devoti tal-Madonna - Mir-registru tal-offertipeer-reviewe
Serwus, madonna Konstantego Ildefonsa Gałczyńskiego. Przyczynek do dziejów wiersza
Full text linkThe article refers to the works by Tomasz Stępień, Adam Kulawik and some other scholars who described the genesis of Gałczyński’s poem Serwus madonna. This lyric was written for Natalia Gałczyńska but after the adjustments made by Stanisław Piasecki it became a religious poem. The author explains the reason of misunderstandings and the meaning of the word ‘madonna’ which was incorporated into Polish from Italian in 19th century and had two meanings: secular and religious. The poet followed the advice of the editor of “Prosto z mostu” and accepted his adjustments in the meaning of the poem.The article refers to the works by Tomasz Stępień, Adam Kulawik and some other scholars who described the genesis of Gałczyński’s poem Serwus madonna. This lyric was written for Natalia Gałczyńska but after the adjustments made by Stanisław Piasecki it became a religious poem. The author explains the reason of misunderstandings and the meaning of the word ‘madonna’ which was incorporated into Polish from Italian in 19th century and had two meanings: secular and religious. The poet followed the advice of the editor of “Prosto z mostu” and accepted his adjustments in the meaning of the poem
Eine gotische Madonna aus Martinšćina
Full text linkAutorica publicira drvenu skulpturu Bogorodice s djetetom iz kapele sv. Martina u Martinšćini, selu nedaleko od Zlatara u Hrvatskom Zagorju. Bogorodica stoji na mjesečevu srpu, desnom rukom drži dijete, a u lijevoj joj je jabuka. Grafizirani, tvrdi nabori i otmjene proporcije karakteristike su stila kasne gotike, pa autorica datira skulptura u osmo desetljeće 15. stoljeća. Ikonografski je skulptura preciznije opisana kao Immaculata
conceptio.The author publishes the wooden sculpture ot Madonna with Child from S. Martin's chapel in a Village near Zlatar in the region of Hrvatsko Zagorje. Madonna stands on a moon crescent, holding the Child in her right arm and an apple in her left hand. The graphically rendered rigid folds and elegant proportions are characteristic of the late Gothyc style. The author theretore dates the sculpture to the 8th decade of the 15th century. A more accurate iconographic description of the sculpture is Immaculata Conceptio.lm Dorf Martinšćina der Ptarre Zlatar in Hrvatsko Zagorje, der Region nördlich von Zagreb, befindet sich in der ehemaligen Pfarrkirche - heute Filialkapelle- des hI. Martin ein hölzerne Statue der Muttergottes. Maria steht aut der Mondsichel und hält das Kind hoch auf dem rechten Arm, während ihre linke Hand einen Apfel umfasst. Die Statue ist 115 cm hoch. Die langgezogenen Faltenzüge des Umhangs deuten darauf hin, daß die Statue dem Stil der s.g. »langen Linie« angehört, der in den europäischen Werkstätten in der Zeit zwischen etwa 1470-1480 vorherrschte. Eine ganz ähnliche Madonna mit Kind befindet sich im ungarischen Ják. D. Radocsay datiert diese gotische Statue in die Zeit um 1480, und Jolán Balogh ist der Meinung, daß eine Graphik der Madonna von Martin Schongauer dem Künstler als Vorlage gedient hat.
ln den erhaltenen Quellen wird die Madonna aus verhältnismäßig spät erwähnt. Die Pfarre selbst heißt 1334 »ecclesia sancti Martini sub Osturch«. In dieser Kirche wird 1677 ein gotischer Flügelaltar beschrieben mit einer Madonnenstatue in der Mitte. Es kann angenommen werden, daß diese Beschreibung sich auf die bis heute erhaltene gotische Statue der Maria mit Kind bezieht. Die Kirche in Martinšćina genoß im Mittelalter hohes Ansehen, wovon noch einige erhaltene Kunstdenkmäler zeugen, wie z.B. ein romanisches Bronzekreuz (heute in der Schatzkammer der Zagreber Kathedrale),die gotische, barockisierte Architektur der Kirche mit ihrem quadratischen Altarraum, und die Reste gotischer Wandbilder aus der Mitte des 15. Jahrhunderts. Die Stifter der Kunstwerke von Martinšćina hatten demnach immer große Anforderungen and die austührenden Künstler gestellt
Madonna. The Dolores of Pop Culture
No full textPrzedmiotem tekstu są dwa subwersyjne cykle fotograficzne z Madonną w roli głównej: w pierwszym artystka cierpi jak Mater Dolorosa, w drugim organizuje Ostatnią Wieczerzę. Autor bada subwersyjne zdjęcia Madonny jako przykład dyskursu słabych, stosując Foucaultowskie pojęcie przeciw-historii jako narzędzie analizy i interpretacji. Jaką historię opowiada nam Madonna, która wychodzi z cienia? Dlaczego ikona popkultury ingeruje w wielkie tematy sztuki chrześcijańskiej oraz typy ikonograficzne, które utrwalają i porządkują naszą wiedzę o tym, co stało się między Wielkim Czwartkiem a zdjęciem z krzyża i złożeniem Chrystusa do grobu?The subject of the text are two subversive photographic series with Madonna in the main role: in the first one, the artist suffers in the manner of Mater Dolorosa, and in the second one, she organizes the Last Supper. The author examines subversive photos of Madonna as an example of a discourse of the weak, using Foucault’s concept of counter-history as a tool of analysis and interpretation. What story does Madonna tell us as she comes out of the shadows? Why does a pop culture icon interfere with the great themes of Christian art and iconographic types that consolidate and organize our knowledge about what happened between Holy Thursday and the Descent from the Cross and the entombment of Christ
Look into My Eyes:A Communication-Oriented Analysis of the Madonna del Mare Nostrum
No full textDutch painter Hans Versteeg’s Madonna del Mare Nostrum (2017) depicts a woman and child wrapped in thermal blankets, seemingly just rescued from the sea. Its composition draws from Christian iconography, particularly Eastern Orthodox icons and Western Madonna-and-Child symbolism, recontextualizing these traditions by applying them to the contemporary, interrelated refugee and climate crises. Through a communication-oriented analysis, the author argues that this painting is an illustrative example of the cultural persistence of the Christian narrative complex in secularized contemporary Western society
The so-called Madonna from Bítov - the Matter of Dating and Stylistic Provenance
No full textThe topic of my bachelor´s thesis "So-called Madonna of Bitov - the issue of subsidies and style provenance" is a comparison of the unique sculptural monument with a chosen types of similar Czech and foreign monuments and finding at least a few solutions. The thesis also deals with implanting Madonna into a period, local and even art-historical context. It brings a detailed formal and iconographic description of the work and the author also solves the issue of restoration here
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