Lola Kantor-Kazovsky | The Hebrew University of Jerusalem (original) (raw)
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Books by Lola Kantor-Kazovsky
![Research paper thumbnail of Sovremennost drevnosti: Piranesi i Rim [Contemporariness of Antiquity: Piranesi's Rome] - In Russian](https://attachments.academia-assets.com/97090370/thumbnails/1.jpg)
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Papers by Lola Kantor-Kazovsky
![Research paper thumbnail of Взгляд на Сретенский бульвар из Восточной Европы и децентрализация нарратива о международном модернизме [A Look at Sretensky Boulevard from Eastern Europe and Decentralization of the Narrative of International Modernism] In Russian](https://attachments.academia-assets.com/97090900/thumbnails/1.jpg)
](Novoe Literaturnoe Obozrenie, 2022
This article is on the distinctive qualities of the unofficial art of Moscow, upon which light wa... more This article is on the distinctive qualities of the unofficial art of Moscow, upon which light was shed in an article the "Moscow Diary" by the Czech art critic Jindřich Chalupecký. This article was written for English-speaking readers and published in 1973 in Studio International. Chalupecký's observations and conclusions about art in Moscow do not match the narratives of the artists themselves, upon which art critics and historians of Russian art still use to base their idea of unofficial art. Chalupecký turns his attention to the paradox of political involvement of seemin gly autonomous art and sees in the works of Mos cow artists an affirmation of his theory about how art can carry avant-garde political charge while remaining in the "sacral" sphere. His anti-Marxist ideas were based on the theories of the avant-garde, as well as existentialism. In subsequent articles, he compares two types of external pressure on the artist, in socialist and capitalist countries, discussing the advantages and shortcomings of both of these systems.
L'arte e il Museo rappresentano due settori all'avanguardia nella ricerca e nella trasmissione de... more L'arte e il Museo rappresentano due settori all'avanguardia nella ricerca e nella trasmissione della Memoria della Shoah. Esattamente queste due frontiere disciplinari si occupano fra l'altro dei molti e diversi modi in cui la Memoria stessa è vista, comunicata o percepita. Il libro, frutto di uno studio durato molti anni, accoglie contributi di specialisti fra i più accreditati nei due temi: persone, situazioni e realtà nuove e a tratti sorprendenti aiutano il lettore a comprendere meglio i volti, le sembianze della Memoria della Shoah nel mondo di oggi e di domani.
In 1761 Piranesi published his polemical treatise Della magnificenza ed Architettura de'Romani, i... more In 1761 Piranesi published his polemical treatise Della magnificenza ed Architettura de'Romani, in which he argued that the art and architecture of ancient Rome derived its sound and powerful principles from the Etruscans, rather than from the Greeks. In the same year Piranesi reworked his Prisons series of prints (Carceri d'Invenzione) due not to the success of the first edition of 1749, but rather because it supported the thesis of his book with a vision of architecture that adhered to the 'Etruscan' principles. In this vision, Piranesi followed in particular the scientific approach to architectural construction of the architect Tommaso Temanza, with whom he collaborated in Venice in 1745, in which preference was given to arches over straight architraves built in stone (the latter which he thought to be characteristic of Greek architecture). This chapter therefore attempts to clarify the meaning of the architectural language of the Carceri, and demonstrates Piranesi's emphasis on the Etruscans as the indigenous source of Roman architecture principles and culture. It also seeks to identify the imaginative character of the Prisons through Piranesi's contact with the intellectual milieu to which Temanza belonged. The epistemological issues that first originated in Descartes' writings, particularly the crucial role of imagination in perception, as a result the virtual impossibility of discriminating between reality and dreams and the perception of prints as the obvious example of how imagination works were all topics of discussion in
e s t r a t t o a u t o r e PROPRIETÀ LETTERARIA RISERVATA Studi sul Settecento Romano Rivista an... more e s t r a t t o a u t o r e PROPRIETÀ LETTERARIA RISERVATA Studi sul Settecento Romano Rivista annuale, anvur classe A In copertina: Pietro Labruzzi, Ritratto di Giovanni Battista Piranesi, part., 1779. Comune di Roma -Sovrintendenza Capitolina ai Beni Culturali -Roma, Museo di Roma, MR 3440. La rivista adotta il sistema del blind review: gli articoli presentati sono sottoposti al duplice vaglio prima del Comitato Scientifico, e poi dei revisori anonimi designati dal Comitato Scientifico stesso. È inoltre aperta a studiosi di qualsiasi livello di carriera, che possono inviare i loro contributi, anche in lingua inglese, francese, spagnolo, tedesco, non superiori alle dodici cartelle di massima, a Edizioni Quasar, via Ajaccio 41-43, 00198 Roma (redazione@edizioniquasar.it). Studi sui Settecento Romano (Autoriz. Tribunale di Roma n. 403/86 del 18 agosto 1986) Direttore responsabile: Stefano Marconi © Roma 2016 by Sapienza Università di Roma e Edizioni Quasar Edizioni Quasar di Severino Tognon srl via Ajaccio 41-43 -I-00198 Roma, tel. (39)0685358444, fax (39)0685833591 per informazioni e ordini: www.edizioniquasar.it
![Research paper thumbnail of "The Moscow Underground Art Scene in an International Perspective." In: Art Beyond Borders: Artistic Exchange in Communist Europe [1945–1989] , ed. by Pascal Dubourg-Glatigny, Gérome Bazin and Piotr Piotrowski (Budapest and New York: Central European University Press), 31-44.](https://attachments.academia-assets.com/44571614/thumbnails/1.jpg)
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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . American Academy in Rome and University of Michigan Press are collaborating with JSTOR to digitize, preserve and extend access to Memoirs of the American Academy in Rome. Supplementary Volumes. n a classical study of the Graeco-Roman controversy ("Piranesi's 'Parere su l'architettura"'), Rudolf Wittkower represented Piranesi as a great artist but an inconsistent thinker, who in the middle of the debate left the ideal of functional simplicity in favor of the taste for varied decoration.' This view became prevalent in most of the subsequent research, although some Piranesi scholars have expressed doubt as to the very possibility of such an upheaval.2 The recent analysis of Wittkower's approach suggests a new direction in which it can be proved that Piranesi's theoretical change was overemphasized if not in fact invented by the researcher. As Alina Payne convincingly demonstrated in her work on Wittkower as a scholar of the Renaissance, he was influenced in his view of the past by the discourse of modernist architecture.3 Her analysis can explain much also in Wittkower's approach to Piranesi. As Wittkower was evidently persuaded that the appreciation of functional form and the taste for ornament were mutually exclusive positions, he came to the conclusion that Piranesi substituted one position for another over a period of time, although in fact an accurate historical account of Piranesi's work demonstrates Piranesi's simultaneous interest in both structure and decoration. Wittkower based his conclusion on the conceptual differences between Piranesi's treatise Della magnificenza ed architettura de' Romani (1761) and his reply to the critical letter to the editors of the Gazette litte'raire de l'Europe by French philhellene critic Pierre Jean Mariette (1765). Whatever may be the solution for the theoretical complications of Piranesi's thought (a matter that I shall consider elsewhere), it is necessary also to respond to the This paper was presented at the 2003 CAA Annual conference. The research was done with a grant from the Robert H. and Clarice Smith Center for Art History. I am grateful to the staff of the Biblioteca Corsiniana for their assistance, to Dr. Olga Medvedkova for her help in transcribing Mariette's manuscript, to Dr. Christopher Drew Armstrong and Dr. Heather Hyde Minor for their comments and suggestions, and especially to Prof. Elisabeth Kieven for discussing with me the ideas in this work and for focusing me on the problem of Piranesi's relation to the Pantheon.
Novoe Literaturnoe Obozrenie, 2022
This article is on the distinctive qualities of the unofficial art of Moscow, upon which light wa... more This article is on the distinctive qualities of the unofficial art of Moscow, upon which light was shed in an article the "Moscow Diary" by the Czech art critic Jindřich Chalupecký. This article was written for English-speaking readers and published in 1973 in Studio International. Chalupecký's observations and conclusions about art in Moscow do not match the narratives of the artists themselves, upon which art critics and historians of Russian art still use to base their idea of unofficial art. Chalupecký turns his attention to the paradox of political involvement of seemin gly autonomous art and sees in the works of Mos cow artists an affirmation of his theory about how art can carry avant-garde political charge while remaining in the "sacral" sphere. His anti-Marxist ideas were based on the theories of the avant-garde, as well as existentialism. In subsequent articles, he compares two types of external pressure on the artist, in socialist and capitalist countries, discussing the advantages and shortcomings of both of these systems.
L'arte e il Museo rappresentano due settori all'avanguardia nella ricerca e nella trasmissione de... more L'arte e il Museo rappresentano due settori all'avanguardia nella ricerca e nella trasmissione della Memoria della Shoah. Esattamente queste due frontiere disciplinari si occupano fra l'altro dei molti e diversi modi in cui la Memoria stessa è vista, comunicata o percepita. Il libro, frutto di uno studio durato molti anni, accoglie contributi di specialisti fra i più accreditati nei due temi: persone, situazioni e realtà nuove e a tratti sorprendenti aiutano il lettore a comprendere meglio i volti, le sembianze della Memoria della Shoah nel mondo di oggi e di domani.
In 1761 Piranesi published his polemical treatise Della magnificenza ed Architettura de'Romani, i... more In 1761 Piranesi published his polemical treatise Della magnificenza ed Architettura de'Romani, in which he argued that the art and architecture of ancient Rome derived its sound and powerful principles from the Etruscans, rather than from the Greeks. In the same year Piranesi reworked his Prisons series of prints (Carceri d'Invenzione) due not to the success of the first edition of 1749, but rather because it supported the thesis of his book with a vision of architecture that adhered to the 'Etruscan' principles. In this vision, Piranesi followed in particular the scientific approach to architectural construction of the architect Tommaso Temanza, with whom he collaborated in Venice in 1745, in which preference was given to arches over straight architraves built in stone (the latter which he thought to be characteristic of Greek architecture). This chapter therefore attempts to clarify the meaning of the architectural language of the Carceri, and demonstrates Piranesi's emphasis on the Etruscans as the indigenous source of Roman architecture principles and culture. It also seeks to identify the imaginative character of the Prisons through Piranesi's contact with the intellectual milieu to which Temanza belonged. The epistemological issues that first originated in Descartes' writings, particularly the crucial role of imagination in perception, as a result the virtual impossibility of discriminating between reality and dreams and the perception of prints as the obvious example of how imagination works were all topics of discussion in
e s t r a t t o a u t o r e PROPRIETÀ LETTERARIA RISERVATA Studi sul Settecento Romano Rivista an... more e s t r a t t o a u t o r e PROPRIETÀ LETTERARIA RISERVATA Studi sul Settecento Romano Rivista annuale, anvur classe A In copertina: Pietro Labruzzi, Ritratto di Giovanni Battista Piranesi, part., 1779. Comune di Roma -Sovrintendenza Capitolina ai Beni Culturali -Roma, Museo di Roma, MR 3440. La rivista adotta il sistema del blind review: gli articoli presentati sono sottoposti al duplice vaglio prima del Comitato Scientifico, e poi dei revisori anonimi designati dal Comitato Scientifico stesso. È inoltre aperta a studiosi di qualsiasi livello di carriera, che possono inviare i loro contributi, anche in lingua inglese, francese, spagnolo, tedesco, non superiori alle dodici cartelle di massima, a Edizioni Quasar, via Ajaccio 41-43, 00198 Roma (redazione@edizioniquasar.it). Studi sui Settecento Romano (Autoriz. Tribunale di Roma n. 403/86 del 18 agosto 1986) Direttore responsabile: Stefano Marconi © Roma 2016 by Sapienza Università di Roma e Edizioni Quasar Edizioni Quasar di Severino Tognon srl via Ajaccio 41-43 -I-00198 Roma, tel. (39)0685358444, fax (39)0685833591 per informazioni e ordini: www.edizioniquasar.it
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . American Academy in Rome and University of Michigan Press are collaborating with JSTOR to digitize, preserve and extend access to Memoirs of the American Academy in Rome. Supplementary Volumes. n a classical study of the Graeco-Roman controversy ("Piranesi's 'Parere su l'architettura"'), Rudolf Wittkower represented Piranesi as a great artist but an inconsistent thinker, who in the middle of the debate left the ideal of functional simplicity in favor of the taste for varied decoration.' This view became prevalent in most of the subsequent research, although some Piranesi scholars have expressed doubt as to the very possibility of such an upheaval.2 The recent analysis of Wittkower's approach suggests a new direction in which it can be proved that Piranesi's theoretical change was overemphasized if not in fact invented by the researcher. As Alina Payne convincingly demonstrated in her work on Wittkower as a scholar of the Renaissance, he was influenced in his view of the past by the discourse of modernist architecture.3 Her analysis can explain much also in Wittkower's approach to Piranesi. As Wittkower was evidently persuaded that the appreciation of functional form and the taste for ornament were mutually exclusive positions, he came to the conclusion that Piranesi substituted one position for another over a period of time, although in fact an accurate historical account of Piranesi's work demonstrates Piranesi's simultaneous interest in both structure and decoration. Wittkower based his conclusion on the conceptual differences between Piranesi's treatise Della magnificenza ed architettura de' Romani (1761) and his reply to the critical letter to the editors of the Gazette litte'raire de l'Europe by French philhellene critic Pierre Jean Mariette (1765). Whatever may be the solution for the theoretical complications of Piranesi's thought (a matter that I shall consider elsewhere), it is necessary also to respond to the This paper was presented at the 2003 CAA Annual conference. The research was done with a grant from the Robert H. and Clarice Smith Center for Art History. I am grateful to the staff of the Biblioteca Corsiniana for their assistance, to Dr. Olga Medvedkova for her help in transcribing Mariette's manuscript, to Dr. Christopher Drew Armstrong and Dr. Heather Hyde Minor for their comments and suggestions, and especially to Prof. Elisabeth Kieven for discussing with me the ideas in this work and for focusing me on the problem of Piranesi's relation to the Pantheon.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Art and Architecture in Ossip Mandelstam’s Poetry
In 1761 Piranesi published his polemical treatise Della magnificenza ed Architettura de’Romani, i... more In 1761 Piranesi published his polemical treatise
Della magnificenza ed Architettura de’Romani, in
which he argued that the art and architecture of
ancient Rome derived their sound principles from
the Etruscans. In the same year Piranesi reworked
his Prisons series of prints – not due to public
interest, but rather, because it
supported the thesis of his book with a vision of
'Etruscan' architecture. The very subject reflects
Etruscan identity rather than an interest in law and
punishment – prison is a conventional subject for
compositions in the Tuscan/Rustic order. In his
vision of Etruscan/Roman architectural genius Piranesi
followed especially the architect Tommaso
Temanza (whom he knew well while in Venice)
and his Galilean approach to architectural
construction and history. Temanza had given
preference to arches over straight architraves
built in stone, while attributing the invention of
the arch to the Romans taught by the Etruscans.
In Baudelaire’s Les Paradis artificiels a woman takes opium secluding herself in an old house. Wi... more In Baudelaire’s Les Paradis artificiels a woman takes opium secluding herself in an old house. With open eyes and without really falling asleep she gradually begins to see another reality, which is a transformation of the boudoir’s “grotesque” ornamentation in rococo style. Inquiring why 18th century decoration was to serve this process, Baudelaire scholars find that since the beginning of its use in Renaissance France, “grotesque” decoration connoted dream. I propose another perspective that seems to me more precise. I focus on the phenomenon of sleeping with open eyes and of imperceptibility of the clear border between dream and reality. The lack of this border, one that had been very clear in the former, “Aristotelian” concept of how brain works, was indeed the issue of hot interest for 18th-century public. The scientific revolution brought about new idea of cognition in which sense perception of the reality works very much like imagination, and is not clearly divided from it. In the 18th century the new ideas of cognition and perceptual paradoxes following from them (like the suspicion that all life is a dream) penetrated literary magazines, popular literature “for ladies” and provoked creation of the new literary genre of “fantastic novel.” My objective is to show that visual culture of the 18th century Rococo decoration in the goût moderne reacts to these paradoxes suggesting imagery illustrating them. I will compare Meissonnier’s vignettes from his printed Oeuvre (1734) with these discussions and show that in general his decorations were conceived to induce a state of reverie in the beholder, instead of rational wake perception.
