Late Medieval Art

L'interesse degli storici dell'arte è occasionalmente attratto dal problema della determinazione concettuale delle opere architettoniche le cui caratteristiche formali non rientrano nelle consuete definizioni dei singoli periodi stilistici. Uno di questi ultimi, si colloca alla metà del XV secolo ed è stato individuato nell'ambito della tradizione culturale ed architettonica adriatico-veneziana. Si tratta di un insieme di opere incompiute, di G. da Sebenico, di A. Gambello e di B. Bono che illustra perfettamente un ulteriore sviluppo, tuttora sfuggente ad una precisa definizione. Elemento comune di tutti e tre gli esempi proposti è rappresentato dalla polemica con le tradizionali soluzioni formali e costruttive, dalla ricerca consapevole di nuove soluzioni e indirettamente dall’elevazione non verbale dell’ars aedificandi.

This paper intends to engage with a broad discourse on death that determined the late Middle Ages. Although the greatest epidemic, the Black Death, was not really reflected in contemporary German literature, we observe a clear shift away from the traditional courtly to the deadly worldview since the early fifteenth century. Two poets deserve particular attention who were contemporaries and, drawing from very different genres, offered powerful poetic reflections on death as it affected them drastically in very personal terms, whether this was seen through a rhetorical lens or through standard poetic images. AIM: Both Johannes von Tepl and Oswald von Wolkenstein have already been discussed from many different perspectives, but by combining their comments on death, we can grasp more concisely the extent to which the topic of death occupied the public discourse in the post-epidemic period. To gain deeper insight into the prevalent discourse, their poems will also be viewed through the lens of contemporary art where we find countless examples of the theme of death, especially in a religious context. Method: Based on a cultural-historical investigation, this study addresses the timeless topic of death as discussed by prose authors and poets in the early fifteenth century and by contemporary artists. Combining the data from both sides, literature and the visual arts, this article pursues an interdisciplinary approach to establish a firm concept of the dominant discourse on death during the early fifteenth century. Results: The comparative analysis bringing together fifteenth-century German and European literature and contemporary artworks has shed significant light on the central topic of death which was perceived to be all-consuming and pervasive during the post-epidemic (Black Death) period.

L’autel est l’élément fixe ou mobile le plus important du temple chrétien, car il sert d’une part de table du sacrifice eucharistique et représente, également, le Christ sacrifié lui-même. Déjà présent dans les temples des religions de l’Antiquité, il acquiert une nouvelle dimension dans la liturgie chrétienne lorsqu’il est associé à la table du banquet eucharistique. La morphologie de l’autel chrétien, sa situation topographique dans le temple, son fonctionnement liturgique, son orientation par rapport à l’assemblée, son nombre et la présence d’objets visuels liés à l’autel ont été quelques-uns des centres d’intérêt des spécialistes au cours des deux derniers siècles. C’est l’un des éléments liturgiques qui a fait couler le plus d’encre : différentes disciplines académiques ont considéré les autels chrétiens comme un sujet d’étude pour faire progresser notre connaissance du passé, toujours en relation avec les usages et les formes concrètes que ces pièces de mobilier adoptent.

This study offers an in-depth exploration of the visual representation of Roman Rite liturgical altars in medieval images from the 13th to the 15th centuries, presenting a fresh perspective on the altar as a central and complex element of medieval liturgical furnishings. It examines key iconographic themes, such as the introit Ad te levavi animam meam and masses celebrated by saints, often depicting divine interventions during the Eucharist. Additionally, the research investigates the role of performative visual elements, such as curtains, which contributed to the depiction of sacred space within altar scenes. These visual devices help convey the altar as a space imbued with spiritual significance. Drawing on a wide range of contemporary visual and documentary sources, the study traces the continuity and variation in the altar's iconography, offering a nuanced understanding of its role in medieval Christian worship. By examining how artists employed visual symbolism to emphasize the sanctity of the altar, this research sheds new light on the ways medieval altars were imagined and represented in the broader context of medieval art.

Analisi delle sopravvivenze artistiche bassomedievali nello specchio delle vicende della chiesa di San Martino a Siena (prima officiata dai canonici regolari di San Frediano a Lucca poi sede urbana dei frati osservanti della Congregazione di Lecceto).

This chapter, published in a volume on Bergen, the Hanse and Art, studies the fabulous collection of medieval church art kept at the University Museum of Bergen in its North Sea context. Between the twelfth and early sixteenth century, the source and inspiration of Norwegian church art gradually shifted from western relationships (to Britain and northern France) to southern and southeastern ones (to the Netherlands and northern Germany)

Title: Abduction, Marriage, and Consent in the Late Medieval Low Countries
Author: Chanelle Delameillieure
Series: Gendering the Late Medieval & Early Modern World
Publisher: Amsterdam University Press

The Middle Dutch term schaec referred to abduction with marital intent. This book explores this phenomenon to understand wider attitudes towards marriage-making in the fifteenth-century Low Countries. Whilst exchanging words of consent was all that was required legally, making marriage was a social process that evoked public concern and familial scrutiny. Abductions embodied contrasting evaluations of what mattered when selecting a spouse and resulted in polarized trials in which narratives on consent, coercion, and family strategy coincided and competed. Abduction, Marriage, and Consent draws from a wide range of legal records to assess how men, women, families, and authorities used, navigated, and dealt with abductions during this period. It contributes to debates on consent, family involvement, and women’s access to justice and demonstrates that abduction should be approached as a comprehensive social phenomenon, one that is crucial in the history of marriage and women’s social and legal status.

https://www.aup.nl/en/book/9789463724074/abduction-marriage-and-consent-in-the-late-medieval-low-countries

Od spomina na ustoličenje koroških vojvod do »kraljestva Sklavanije«. O nekaterih grbih slovenskih dežel v umetninah, povezanih z Maksimilijanom I. From the Commemoration of the Carinthian Dukes' Enthronement to the "Kingdom of Sclavania". On Some Coats of Arms from the Slovene Lands in Artworks Related to Maximilian I matevž remškar Grafične predloge v delavnici Mojstra Trbojske Marije Graphic Sources in the Workshop of the Master

Artykuł powstał w celu usystematyzowania i poszerzenia stanu wiedzy o kościele Mariackim w Kłodzku, a ściślej rzecz ujmując, dotyczy najstarszego etapu budowy fary, to jest okresu funkcjonowania na miejscu pierwszego wznoszącego ją warsztatu. Opierając się przede wszystkim na średniowiecznych źródłach pisanych, w tekście sprecyzowano datowanie omawianej fazy do dwóch–trzech pierwszych dekad XV wieku, z początkiem prac w roku 1402 albo nieznacznie później oraz ich końcem między rokiem około 1415 a 1428. Wyodrębnione zostały fragmenty świątyni wykonane, przynajmniej hipotetycznie, przez najwcześniejszy zespół: ściany prezbiterium ze sklepieniami jego bocznych naw, dolne partie starej zakrystii i kaplica od północy chóru. Następnie zastosowano analizę formalno-genetyczną, by pogłębić dotychczasowe ustalenia dotyczące stylistycznej genezy oryginalnego projektu (jedynie w zakresie dyspozycji realizowanego konsekwentnie także przez późniejsze ekipy). Program przestrzenny, detale i sklepienia porównano z czeską i śląską architekturą gotycką, znajdując potencjalne wzory dla poszczególnych elementów, co pozwoliło na hipotetyczne zarysowanie terenów artystycznej edukacji pierwszego mistrza kierującego budową obiektu; obszar ten z największym prawdopodobieństwem rozciągał się przynajmniej od Pragi, przez wschodnie Czechy i podsudecką część Śląska, aż do Wrocławia.

The purpose of the article was to systematize and expand the knowledge about the church of the Assumption of Blessed Virgin Mary in Kłodzko, and more specifically, to address the oldest stage of the development of this parish church, that is the period when the first construction workshop was active on the site. Based primarily on medieval written sources, the paper specifies the dating of the discussed phase, up to the first two or three decades of the fifteenth century, with the beginning of the works in 1402 or slightly later, and their end between around 1415 and 1428. We have identified fragments of the temple, made at least hypothetically by the earliest team of builders: the walls of the presbytery with the vaults of its side aisles, the lower parts of the old sacristy, and the chapel to the north of the choir. Subsequently, a formal-genetic analysis was applied in order to extend the previous findings regarding the stylistic origins of the primary project (only in terms of spatial arrangement consistently implemented also by later construction teams). The spatial program, details, and vaults were compared with the Bohemian and Silesian Gothic architecture, finding potential prototypes for individual elements, which allowed for a hypothetical outline of the area of artistic education of the first master in charge of the building’s construction; the aforementioned area most probably extended at least from Prague, through eastern Bohemia and the Sudeten part of Silesia, all the way to Wrocław.

Introducción al Dossier #23 CAIANA

Tanto en su dimensión material como lumínica, el color tuvo un rol fundamental en la cultura visual de la Edad Media y del Renacimiento. Contrariamente a la idea arquetípica construida en gran parte desde los imaginarios decimonónicos de un Medievo oscuro, con catedrales e iglesias constituidas por piedras grises y mohosas, color y luz fueron dos elementos en activo diálogo que atravesaron obras y materialidades diversas. Muros, esculturas, retablos, tapices y códices entre algunas de ellas, estuvieron inmersos en una multiplicidad de combinatorias y posibilidades cromáticas. Al mismo tiempo, la luz fue protagonista de tonalidades translúcidas, etéreas, brillantes y mutables presentes en objetos esmaltados, en piedras preciosas, en superficies musivarias bizantinas y románicas, y en vitrales de iglesias y catedrales góticas.

Investigation of the elemental composition of the grounds of the 19th century paintings-new possibilities to support dating and attribution basing on non-invasive analyses by means of portable XRF spectrometer Till present the main tool among physical-chemical analyses of the 19th century paintings supporting dating and authentication was the pigment identification. The paper presents results of research enabling preliminary chronological assessment of the evolution of chemical composition of primings, basing on non-invasive examination by means of XRF with measurements executed from the backside through the canvas and parallel on tacking margins, with possibility of non-invasive identification

Organizado por el proyecto de investigación “Los monasterios de la Corona de Castilla en la Baja Edad Media: actitudes y reacciones en un tiempo de problemas y cambios”, ref. PID2021-124066NB-I00, financiado por MCIN/AEI/10.13039/501100011033/FEDER, UE.

A propos d'un voile brode venitien du XIV e siccle aZadar Helene Papastavrou UDC 746.3.033.04(450 Venezia)(497.5 Zadar)"13" Le present article s'occupe d'un antependium brode venitien, date entre les annees vingt du XIVe steele et 1337. Sa composition forme un triptyque. L'etude sur l'iconographie et le style de l'oeuvre a un but triple: d'abord, de situer l'oeuvre dans le cadre de la production artistique venitienne; ensuite, de distinguer la composante byzantine de la composante occidentale et, enfin, d'offrir une contribution al'etude de la broderie aussi bien qu'a celle du fonctionnement d'un atelier d'art venitien. Au couvent de la Sainte-Vierge des Benedictines de Zadar, ville cotiere de la Dalmatie longtemps sous l'influence politique et artistique venitienne, se trouve une riche collection d' objets sacres. Parmi ces objets, j'ai remarque un voile brode, un antependium (fig. I), qui constitue le theme de ce travail.' A I' origine, l' antependium devait etre place droit sur un autel tel un retable, ou alors sur le fronton, devant l'autel. Vu son usage, il devait former une surface plate et raide. En effet, aujourd'hui le voile est attache sur une planche recouverte d'un tissu beige, de texture raide. 11 est conserve dans une vitrine accrochee au mur et est en bon etat de preservation. Le voile mesure 2,12 m de largeur et 0,95 m de hauteur. La composition est inscrite dans un cadre architectural brode en forme de triptyque gothique. La Vierge a l'Enfant est representee dans la partie centrale, le donateur a ses pieds; elle est flanquee agauche de saint Jean-Baptiste et, 45 Cf. King, op. cit., 16.

Janez Kasijan (ok. 360-ok. 435) je bil velika osebnost pozne antike, nekakšen »brodar« egiptovske meniške tradicije, ki jo je pripeljal na Zahod. Njegovo življenje je bilo razpeto med takratnim grškim Vzhodom (predvsem koptskim Egiptom) ter pozneje latinskim Zahodom. Sadovi tega se zaradi Kasijanovega velikega vpliva v obeh tradicijah čutijo še danes. Bil je eden od pionirjev meniške teologije v latinščini, obenem pa tudi edini latinski avtor, ki ga je grška tradicija vključila v antologijo grške patristične in bizantinske duhovne književnosti z naslovom Filokalija, saj so bila njegova dela, kljub temu da je sam pisal v latinščini, že zgodaj prevedena tudi v grščino. 1 Strokovna in znanstvena bibliografija o Kasijanu je zaradi njegovega velikega pomena zelo obsežna, 2 vendar pa redko srečamo raziskave, ki bi njegovo delo in pomen proučevali prav z vidika transkulturnega posredovanja egiptovske meniške tradicije na latinski Zahod. 3 Najprej je podan okviren historično-biografski okvir Kasijanovega življenja, pri čemer bo posebna pozornost posvečena prav obdobju Kasijanovega bivanja v Egiptu (ok. 385-399/400). Nadalje predstavljamo dve njegovi najbolj znani deli, De institutis (= Inst.) in Collationes (= Coll.), prav tako skozi prizmo recepcije egiptovske duhovne izkušnje na Zahodu. Nazadnje sledi še kratek poskus razbiranja Kasijanove »meniške filozofije« in oris vpliva Kasijanovih spisov na zahodno (meniško) tradicijo, kot se je oblikovala kmalu za njim in je brez poznavanja njegovega dela ni mogoče razumeti.

Title: Netherlandish and Italian Female Portraiture in the Fifteenth Century: Gender, Identity, and the Tradition of Power
Author: Elisabetta Toreno
Series: Visual & Material Culture, 1300-1700
Publisher: Amsterdam University Press

This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised. Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women’s lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women’s active role in the imaging process and the early instances of a pro-women ideology.

More information: https://www.aup.nl/en/book/9789463728614/netherlandish-and-italian-female-portraiture-in-the-fifteenth-century

Title: Stigmatics and Visual Culture in Late Medieval and Early Modern Italy
Author: Cordelia Warr
Series: Visual & Material Culture, 1300-1700
Publisher: Amsterdam University Press

This book places the discourse surrounding stigmata within the visual culture of the late medieval and early modern periods, with a particular focus on Italy and on female stigmatics. Echoing, and to a certain extent recreating, the wounds and pain inflicted on Christ during his passion, stigmata stimulated controversy. Related to this were issues that were deeply rooted in contemporary visual culture such as how stigmata were described and performed and whether, or how, it was legitimate to represent stigmata in visual art. Because of the contested nature of stigmata and because stigmata did not always manifest in the same form - sometimes invisible, sometimes visible only periodically, sometimes miraculous, and sometimes self-inflicted - they provoked complex questions and reflections relating to the nature and purpose of visual representation.

More information: https://www.aup.nl/en/book/9789463724562/stigmatics-and-visual-culture-in-late-medieval-and-early-modern-italy

Title: The Painted Triptychs of Fifteenth-Century Germany: Case Studies of Blurred Boundaries
Author: Lynn F. Jacobs
Series: Visual & Material Culture, 1300-1700
Publisher: Amsterdam University Press

This book presents four case studies that interrogate how German fifteenth-century painted triptychs engage with, and ultimately blur, various boundaries. Some of the boundaries are internal to the triptych format, for example, transgressed frames between narrative scenes on triptych interiors, or interconnections between imagery on triptych interiors and exteriors. Other blurred boundaries are regional ones between the Netherlands and Cologne; metaphysical ones between heaven and earth; and artistic distinctions between the media of painting and sculpture. The book's case studies-which shed new light on Conrad von Soest, Stefan Lochner, and the Master of the St. Bartholomew Altarpiece-illuminate the importance of German fifteenth-century painting, while providing a fresh assessment of relations between German triptychs and their more famous Netherlandish counterparts. The case studies also demonstrate the value of probing Medialität, that is, the implications of format and medium for generating meaning. A coda assesses the triptych in the age of Dürer.

More information: https://www.aup.nl/en/book/9789463725408/the-painted-triptychs-of-fifteenth-century-germany

Like other luxury objects, whether made for liturgical or personal use, medieval illuminated manuscripts were often adorned with gold, silver, and other metals. When given the opportunity to turn the leaves of manuscripts, we get a privileged hint of the lived visual experiences of medieval viewers and users: the subtle radiance of metallic paint, the flash and brilliance of burnished gold leaf, and the shifting glints of light that vary according to how those metals have been embellished. Illuminators were fully cognizant of the visual impact and light-inducing effects their materials had on the viewer. But what do we know of their methods? Is all that glitters really gold? This essay aims to answer these questions by investigating the physical properties and surface appearances of precious metals and their substitutes in illuminated manuscripts dating from the ninth to the sixteenth centuries. Beginning with a query into how these substances were understood during the Middle Ages, the paper outlines how gold and silver were procured and how they came into the hands of illuminators. Through close looking and technical analysis, this essay will survey methods of applying gold and silver to the parchment page-as paint and as leaf-and discuss the grounds and embellishment techniques used to enliven gilded surfaces. By considering materials and methods chronologically, the author demonstrates how the nature of the materials themselves-as well as their contingencies and meanings-changed over time. While this study does not purport to be comprehensive, what will be revealed is a story of changing aesthetics, technological developments, and artistic innovations that reflect the shifting availability of materials in different geographical regions at various

Objektname Zwei Retabelflügel Typus Flügelretabel mit gemalter Mitteltafel (?) und gemalten Flügeln Gattung Tafelmalerei Status Disloziert Von dem ehemaligen Flügelretabel scheinen nur die beiden Flügel erhalten zu sein (MSch). Standort(e) in der Kirche Wenn die Flügel tatsächlich aus der Frankfurter Dominikanerkirche stammen, kämen mit Blick auf die Altarweihen und die dargestellten Heiligen zwei Standorte infrage: die Sebastiankapelle oder ein Altar in der Nähe der Sebastiankapelle (MSch). Auf dem Plan von Weizsäcker wären dies Altar F und G (Weizsäcker 1923, Taf. 54). Altar und Altarfunktion Der Altar in der Sebastiankapelle war zu Ehren der Hll. Sebastian und Rochus, Vincentius, Vitus, Augustinus, Hieronymus, Ambrosius, Gregorius, des Kaisers Heinrich und der Kaiserin Kunigunde geweiht. Hierauf könnte das Retabel mit der Darstellung von Sebastian unter den Nothelfern sowie den vier Kirchenvätern Bezug nehmen. Der Altar in der Nähe dieser Kapelle war den Hll. Johannes Ev., Vinzenz, Augustinus und Klara geweiht. Hier würde die Darstellung des Augustinus auf die Altarweihe Bezug nehmen (MSch).

Recently, Chiara Frugoni has reiterated this lauda-fresco relationship, also briefly mentioning that the disciplini might have gathered in front of the Triumph of Death and Dance of Deathmural to read and recite “Io sono per nome chiamata morte.”8 Building on these observations, my contribution in this article is to specifically explore the performative ways in which the Bianchi could have interacted with the images on the façade of their oratory while reciting the lauda “Io sono per nome chiamata morte” aloud. My in-depth analysis of several passages from this vernacular poem confirms that the narrative in the fresco was modeled on the content of this text. I argue that, by incorporating and engaging with images that  foreground  the  senses  of  sight  and  hearing,  the  iconography  of  the  Clusone  fresco  becomes  a  multi-sensory  meditation on “Io son per nome chiamata morte.” In particular, I posit that the conversation between Death and the disciplino,  as  conveyed  in  ...

The paper examines the involvement of Bishop Hug de Llupià (1397-1427) in the promotion of Valencia Cathedral's artistic heritage by means of the Virgin Mary and King James I. On the one hand, it studies the miniature on folio 6r of Liber instrumentorum (Valencia Cathedral Archive, Ms. 162) and the parallels between this artwork and certain Mary images. On the other, it discusses the document which proves the exhibition of king's weapons-the shield, spur and the bridle-at the main chapel of the Cathedral. Bishop's Marian devotion is proved by a group of artworks made by skilled artisans and linked to the influence of the dogma of the Immaculate Conception. The exhibition of King James I's weapons at Cathedral presbytery conveyed an exaltation of king's memory in the preeminent spatial context.

Late medieval art was obsessed with scaling: scaling sculptures of Roland and Mary up to colossi and down to miniature figurines; scaling up depictions of the cosmos to appear much larger than God and vice versa; miniaturizing architectural elements into micro-architectural structures and then magnifying them into monumental sacrament houses; miniaturizing multi-figured sculptured tympana into altarpieces and then shrinking them further to fit into prayer nuts; playing with multiple scales within shrine Madonnas; and oscillating between thumb-sized prayer books and gigantic display volumes. The preoccupation with scaling was contemporaneous with new improvements to measuring instruments and standards that could investigate celestial bodies; fix time, distance, space, or quantities; and classify human physiognomy. While this engagement with measuring has been well established in recent scholarship (including the PI’s publications on colossal sculpture) its theoretical underpinnings and how it fueled widespread fascination with scale have not been explored.
The proposed research seeks to reveal the late Middle Ages as the stage of an overlooked scaling turn, even a revolution. It aims to delineate and bring to the fore what is here defined for the first time as the “Scaling Revolution”—an artistic, technological, cultural, and ethical manipulation of relational sizing (scaling) that occurred in the Latin West during the fourteenth and fifteenth centuries. While measuring (using set units, therefore “objective” ontological category) and scaling (a relative and relational act, therefore a subjective phenomenological category) were always a part of artistic cultural production, during these centuries they were, to an unprecedented degree, in constant flux. Scaling determines how artefacts – and by implication, people – occupy a given space in relation to one another, mediating ontological categories of being and their interrelationships. The scaling revolution culminated in Alberti’s theories of proportion and the discovery of the New World, which mandated a rescaling of the world itself to make room for its “new” inhabitants.
By studying scaled artifacts, and introducing a new paradigm and analytical tools, the project argues that the scaling revolution dramatically changed not only the visual and material culture of the period but also its theological and philosophical tenets, therefore affecting many aspects of daily life—language, literature, devotion, commerce, science, and law—and impacting fundamental modes of thinking and ideologies. The proposed research will ultimately contend that scaled objects were instrumental in fashioning the late medieval and early modern self. The visual properties of scaled objects attest to implicit perceptions and cultural assumptions about the relationships between God, humanity, and the races, which forged notions of European primacy. The developments and the consequences of the scaling revolution thus reverberated around the globe and into modernity.

The article analyses archaeological excavations which were carried out in the county of Lääne-Viru in the Viru-Nigula churchyard. During the excavation a tomb with two burials was opened -a woman, buried in 1821, and a man, buried in 1841, were studied. From the head of the coffin five sets of glass plates with silhouette portraits were unearthed. These are unique in the 19th-century Estonian context and contemporary examples are not known from neighbouring areas either. In addition to the example from Viru-Nigula tomb, an overview is given of the situation of research into burials of Modern Age as a whole.

El Museo Nacional de Arte Decorativo de Buenos Aires (MNAD) cuenta con una pintura del siglo XV atribuida a Pedro García de Benabarre que representa a san Miguel aniquilando al demonio. Adquirida por Matías Errázuriz Ortúzar (1866-1953), ha recibido al momento poca atención historiográfica y patrimonial. ¿De qué manera se inscribe en el coleccionismo de la elite porteña de inicios del siglo XX?; ¿cómo pudo haber llegado a manos de Errázuriz para su colección particular?; ¿qué constelación de intercambios entre marchands, coleccionistas y artistas actuó en el proceso de su adquisición?; ¿qué incidencia pudieron tener las conexiones de Errázuriz con España?; ¿qué ubicación original le había dado Errázuriz en su palacete y cómo varió cuando la residencia pasó a ser museo? El presente trabajo pretende realizar un primer abordaje crítico a estos interrogantes en pos de revalorizar la importancia patrimonial de esta pieza renacentista catalana en Buenos Aires.
URL: https://pem.assis.unesp.br/index.php/pem/article/view/1337/1279

Pričujoči prispevek je napisan na osnovi diplomskega dela, ki je nastalo pod mentorstvom red. prof. dr. Toneta Smoleja z Oddelka za primerjalno književnost in literarno teorijo ter doc. dr. Ane Cergol Paradiž z Oddelka za zgodovino Filozofske fakultete Univerze v Ljubljani. Izkazalo se je, da je v 19. stoletju prihajalo do številnih stikov med slovensko in češko kulturo in politiko. V literaturi je po besedah Albince Lipovec oba naroda družila slovanska orientacija in paradigma srednjeevropskih literatur, »v katerih je povezovalna sestavina zgodovinska usoda malega deželnega naroda v skupni mnogonacionalni avstrijski državi […]« (1992, 171). Podobno ugotavlja Katja Mihurko Poniž: »Za slovenski kontekst v obdobju 19. stoletja so smiselne predvsem primerjave s situacijo, kakršna se je oblikovala pri narodih, ki so bili pod vladavino habsburške monarhije, saj je njihova podrejenost združila moške in ženske v boju za svobodo. […] Tako so se Čehi s svojimi rojakinjami čutili povezani prav zaradi izkušnje inferiornosti« (2014, 17). Podrejenost je združila tudi Slovenke in Čehinje, kar dokazujejo besede Vilme Seidlove-Sokolove, sodelavke češkega ženskega časopisa Ženský svět, v pismu Marici Nadlišek 14. decembra 1896: »Ale jde o to, budete-li rozuměli česky? Či mám psáti řečí našich utiskovatelů-po německi? Vy, velectěna slečno, rozumíte-li mně, račtež odpovídati slovinsky, já dobrě slovinsky rozumím« (NUK, Marica Nadlišek Bartol, Ms 703). 1 Ostali sta pri češčini in tako napovedali skupni boj proti nemškemu »tlačitelju«, kar je bil tudi eden izmed glavnih razlogov, da so Slovenke in Čehinje stopile na spolzki literarni parket. 2 Ženska emancipacijska gibanja na Slovenskem in Češkem Kako se je ženski boj proti tlačiteljem povezoval z antialkoholizmom? Čehinje so bile že zgodaj zelo prodorne na političnem področju, zlasti z izvolitvijo pisateljice Božene 1 »Ko sva že pri tem, boste razumeli češko? Ali naj pišem v jeziku naših tlačiteljev-po nemško? Vi, velecenjena gospodična, če me razumete, odgovorite slovensko, saj jaz slovensko dobro razumem.«

La tabla de san Sebastián de la Colegiata de Xàtiva ha sido, y es, considerada el retrato de Ausiàs March. Esta opinión está muy arraigada a pesar de que ya hay quién se ha encargado de desmentirla. En el presente artículo se presentan los argumentos históricos que evidencian una falsedad que se ha perpetuado al menos desde el segundo cuarto del siglo XX. Se exponen los fundamentos historiográficos, se analiza la iconografía de la tabla en relación con otras obras del artista y se revisa el concepto de retrato en la baja Edad Media.

One of my research projects examines pictorial symbols and epitaphs on gravestones in Norway and Sweden. The focus has been on the 1990s and the 2000s. The choice of this period is motivated by the fact that new national burial laws were adopted in both countries in the early 1990s. These laws provided the next of kin with the possibility of choosing memorial symbols and inscriptions more freely than had previously been the case. To judge from the data under study, individual symbols have gained popularity, especially in Sweden, while Norway has been more faithful to earlier traditions of a collective character; moreover, secular motifs are more manifest on the gravestones in Sweden than in Norway. Another research project analyses memorial websites on the Internet related to persons who have died in recent years. The all-inclusive issue in these studies concerns mourners' expressions of their emotions and beliefs regarding the deceased person's afterlife, that is, beliefs in after-death existence. Belief in the deceased being somewhere in heaven is common. Belief in angels is also a popular concept in memorial websites. Moreover, in Sweden, this includes deceased pets as well. The previously strictly observed distinction between humans and pets has become indiscernible in Sweden. Norwegian practice, however, remains critical towards this type of "humanlike characterization". In Norway, memorial websites for the deceased are generally associated with more traditional Christian concepts than are similar sites in Sweden. By contrast, in Sweden, one observes a kind of diffuse religiosity reminiscent of New Age ways of thinking, according to which the individual plays the central role, and glorification of afterlife existence prevails. Secularization, that is, a decline in the influence of traditional forms of religious experience, is conspicuously more prominent in Sweden. Within the project on memorial websites, I have performed a special study of memorials of persons who have committed suicide. In Norway, differences between suicide and deaths by other OPEN ACCESS Humanities 2015, 4 225 causes are conceived in an entirely different manner than on memorial websites in Sweden. There, the contrast between suicide and other forms of death has been increasingly wiped out. Norway has preserved earlier mortuary traditions to a greater extent, and no notions of a bright afterlife, or of angels, are to be found in connection with suicides.

Information spread plays crucial role in risk management in case of environmental danger. The structure of local society may be well described by social network analysis. We have investigated the role of hubs within that concept. In case of danger, there are two different strategies of information management: 1) information spread that leads to awareness of the whole society 2) keeping the whole information in secret under control that leads to a partial social awareness, available to a small number of people only. In our model, the probability of information spread between two nodes is inverse proportional to connectivity of the next node because people who have a lot of connections are more immune. We have applied agent-based modelling on Barabasi Albert networks to explore various scenarios of information spread. We have considered recent arsenic environmental danger in G{\l}ogow and Legnica (Copper Basin) according to the official available data (2015 - 2016) from social network...

La naturaleza resultó un tópico frecuente en las representaciones pictóricas bajomedievales
y renacentistas de san Miguel y san Jorge matando al dragón o a Satán. Estos santos se instalaron con
fuerza en la cultura visual del Occidente medieval a partir del siglo XII. Su objetivo de mostrar el triunfo
del cristianismo sobre el enemigo religioso se sustentó en la construcción de un aparato de imágenes
cada vez más verosímiles y efectistas. Así, la naturaleza pasó a ser el escenario de acción predilecto
para situar estos combates, gracias a la introducción de determinados detalles, plantas y animales para
aludir a lo salvaje y a lo indómito relacionado con las fuerzas malignas. Este trabajo propone analizar
estos aspectos en algunas pinturas europeas de los siglos XV e inicios del XVI.

This article examines two carved bone plaques produced by the Embriachi workshop (Northern Italy, late 14th/early15th century) in the collection of the University of Missouri-Columbia's Museum of Art and Archaeology. Although they had been removed from their original framework by the time they were acquired by the Museum, I argue that iconographical, formal, and material clues point to their likely original inclusion in an altarpiece that depicted events from the Passion.