188 research outputs found
Appel à communication: "The Art of the Network: Visualising Social Relationships, 1400-1600", The Courtauld Institute of Art, Somerset House, Strand, London, Friday 28 April 2017, deadline 31 December 2016
No full textOrganised by: Alexander Röstel (The Courtauld Institute of Art) Alexander Noelle (The Courtauld Institute of Art) In recent years, the analysis of social networks has generated a fruitful field of scholarly enquiry. Research addressing the dynamics that govern personal relationships within and without communities of various kinds has permeated through historical, anthropological, and sociological studies. These investigations have traced the ways in which societies structured according to g..
Using digital and hand printing techniques to compensate for loss: re-establishing colour and texture in historic textiles
No full textConservators use a range of 'gap filling' techniques to improve the structural stability and presentation of objects. Textile conservators often use fabric supports to provide reinforcement for weak areas of a textile and to provide a visual infill in missing areas. The most common technique is to use dyed fabrics of a single colour but while a plain dyed support provides good reinforcement, it can be visually obtrusive when used with patterned or textured textiles. Two recent postgraduate dissertation projects at the Textile Conservation Centre (TCC) have experimented with hand printing and digital imaging techniques to alter the appearance of support fabrics so that they are less visually obtrusive and blend well with the colour and texture of the textile being supported. Case studies demonstrate the successful use of these techniques on a painted hessian rocking horse and a knitted glove from an archaeological context
Ornata decenter : figurative ecclesiastical floor mosaics in Northern Italy, 1030-1213
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
Foreign influences on and innovation in English tomb sculpture in the first half of the sixteenth century
No full textThis study is an investigation of stylistic and iconographic
innovation in English tomb sculpture from the accession of King
Henry VIII through the first half of the sixteenth century, a
period during which Tudor society and Tudor art were in
transition as a result of greater interaction with continental
Europe. The form of the tomb was moulded by contemporary
cultural, temporal and spiritual innovations, as well as by the
force of artistic personalities and the directives of patrons.
Conversely, tomb sculpture is an inherently conservative art, and
old traditions and practices were resistant to innovation. The
early chapters examine different means of change as illustrated
by a particular group of tombs. The most direct innovations were
introduced by the royal tombs by Pietro Torrigiano in Westminster
Abbey. The function of Italian merchants in England as
intermediaries between Italian artists and English patrons is
considered. Italian artists also introduced terracotta to
England. A group of terracotta tombs in East Anglia, previously
attributed by tradition to Italian artists, is re-examined. A
less direct initiation of iconographic and stylistic innovation
occurred through English artists' use of foreign patterns. The
synthesis of such two-dimensional imagery by English sculptors is
examined in certain tombs in Hampshire and Sussex. The influence
of the Florentine royal tombs on English tomb sculpture in the
latter half of the period is illustrated by alabaster tombs from
an English workshop and by three other important tombs. The
abandoned Italian project for the tomb of Henry VIII is studied
in the context of the religious, political and economic changes
that contributed to the breakdown of a supportive environment for
Italian artists in England. Finally, the relevance of religious
Injunctions and iconoclasm to the evolution of English tomb
sculpture by the middle of the century is considered
THE LONGEST WAY AROUND IS THE SHORTEST WAY HOME
No full textThis article traces the roundabout journey of an architectural historian from Cambridge to the Warburg Institute Library, via Cracow, Princeton, and Manchester. The author's early research, into German and Central European architecture, had little to do with Warburgian interests, but in his studies in Cracow he became aware of the importance of architectural symbolism, via the friendship of his Cracow tutor, Lech Kalinowski, with Erwin Panofsky. As a corrective to Panofsky's idealist notion of the architectural symbol, the author was introduced to Richard Krautheimer's theory of the “copy,” first published in the Journal of the Warburg and Courtauld Institutes for 1942. It was this Warburgian model that launched the author's publications on the architectural symbolism of the Middle Ages. He writes that ending his journey as one of the editors of the Warburg and Courtauld Journal left him feeling that he had (in some sense) come home.</jats:p
The First Cut; the locus of decision at the limits of subjectivity
No full textThis project examines the concept of decision in philosophical writing, in particular the question of whether subjectivity can be said to constitute a ‘locus’ of decision. The writing of Søren Kierkegaard is the main focus of discussion. Giorgio Agamben, Michel Henry and Jacques Derrida also provide important contributions.
Although for Kierkegaard ‘all decisiveness is rooted in subjectivity’, subjective agency takes the form of an active surrendering to an external unknown authority (God). Kierkegaard uses the term ‘leap of faith’ to describe the moment of decision where subjective transformation occurs.
For Derrida, any decision requires an undecidable leap beyond all reasoning made in preparation for that decision. He extends a reading of faith beyond the theistic by suggesting that Kierkegaard’s unknowable God could also be another name for the ‘structure of subjectivity.’
Giorgio Agamben’s writing on the concept of human life situated at the threshold of categories (socio-political, philosophical, physiological and so on), helps to further the exploration of subjectivity as the ‘locus’ of decision. Michel Henry’s work on The Essence of Manifestation provides a focus for a discussion on the ‘radical subjectivity’ that Kierkegaard proposes as the fulcrum of decision.
The research project as a whole maintains a synergy between these philosophical concerns and the form of their explication. The thesis is made up of both written text and DVD documentation of live works. These instances of practice, whose form and mode of presentation were informed by a specific aspect of the research, are integrated into the thesis to constitute ‘chapters’. The practice can and does function independently in other contexts. However, what is presented in this research document constitutes the outcome of my practice-based PhD project and includes both the ‘theoretical’ and ‘practice’ elements.
Supervisors: Neil Cummings and Howard Caygil
Die Unfehlbarkeit des Papstes auf dem Concil zu Constanz und Johannes Huss' Verhör, Verurtheilung und Feuertod (5. und 6. Juli 1415) /
No full textSpurious letters first published in book form in 1846 under title: Hussen's letzte Tage und Feuertod. 1847 ed. names J.G. Munder as editor. On authorship, cf. Journal of the Warburg and Courtauld Institutes, v. 19, 1956, p. 174-177.Mode of access: Internet
Creativity and destructiveness in art and psychoanalysis
No full textThis paper focuses on the creativity of the patient in analysis and compares it to that of the artist. Taking artists’ descriptions of their practices as its starting point, the paper suggests that the relationship between patient and analyst parallels that between artist and medium. Psychoanalysis and artistic process can both be seen in terms of a complex interplay between oneness and separateness in which aggression and destructiveness play an essential part. The paper includes a discussion of different forms of aggression and destructiveness within the creative process with particular reference to Winnicott’s paper ‘The Use of an Object’ and Rozsika Parker’s ‘The Angel in the House’. It suggests that a consideration of artists’ creative processes can shed light both on the experience of the patient in analysis and on the role of the analyst in facilitating the development of the patient’s creativity
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Concinnitas in the architectural theory and practice of Leon Battista Alberti.
No full textIn his treatise on architecture, de re aedificatoria,
Leon Battista Alberti (1404 - 72) described Beauty in architecture as concinnitas: a harmony or congruity of the various parts of a building assembled according to principles :summarised
by three categories of numerus, finitio and collocatio .
This term has been interpreted variously and most famously in
recent times by Rudolph Wittkower. Starting with his and other
scholars' interpretations, this dissertation proposes a new
definition for concinnitas based on studies of Alberti's
architectural theory and practice and the work of his contemporaries.
Chapters 1, 3 and 4 of the dissertation focus on the
application of numerus and finitio in Alberti's architectural
practice and observations made here are supported by separate
historical studies of the buildings (be found in the appendices) and survey drawings (bound together at the end of the
dissertation). Chapter two is a study of the symbolic references, traditions and themes which appear to underlie the
design of centralised churches and points raised here are expanded
in later chapters. The third category, collocatio, is
examined in the final chapters when the continuity of tradition
in Alberti's approach to architecture is outlined within the framework of the city and the urban ensemble of church, palace, piazza and loggia
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