Estelle Mare - Academia.edu (original) (raw)

Papers by Estelle Mare

South African Journal of Cultural History, 1990

Isak Dinesen (nom de plume of Karin Blixen) represents Babette as an artist who fulfils her missi... more Isak Dinesen (nom de plume of Karin Blixen) represents Babette as an artist who fulfils her mission to create.

Since 2600 BCE Niké, the ancient Greek goddess of victory, has been portrayed as a winged figure ... more Since 2600 BCE Niké, the ancient Greek goddess of victory, has been portrayed as a winged figure in sculptures, paintings and other representations. These depictions are a source for the understanding of the Niké myth and the figure's relationship to other gods and goddesses, as well as her dual relationship to war and peace. In this thematic study the development of Niké figures is traced in a series of sculptural representations of which the most famous is the Winged Niké of Samothrace in the Musée du Louvre. On some Western memorials Niké figures that resemble Christian angels are displayed to commemorate the declaration of peace. Modern artists who retained an interest in the Classical period created incomplete works that refer to incomplete archaeological finds. In our era the sculpture is not only admired for its active female form, but its origin as the representation of a maiden in the male world of war and games evoke feminist issues. Moreover, Niké as a winged goddess that could move fast became insignia for modern utilitarian products such as missiles, cars, and running shoes.

South African Journal of Cultural History, Jul 1, 1984

South African Journal of Art History, 2012

It is argued that Leonardo da Vinci's architectural designs are uniquely original due to his abil... more It is argued that Leonardo da Vinci's architectural designs are uniquely original due to his ability to connect ideas derived from a wide range of sources and his own empirical researches. This attempt at understanding Leonardo's visual thinking that is the basis of his architectural designs commences with a reference to his decorative knotted puzzle, entitled Concatenation, that symbolises a map of the universe, reminiscent of Aristotle's world view, as expressed by Dante Alighieri. Leonardo's empiricist approach to scientific research and artistic creativity also relates to Aristotle's insight into matter, form and growth patterns. His creative process in art and design was inspired by thought experiments in which his mastery of disegno enabled him to express the mutation of living forms into mechanical and architectural forms, and vice versa, to imbue the latter with a life force. His representation of fictive buildings in his paintings is surveyed, followed by a review of his architectural sketches of which his designs of centralised and longitudinal domed churches are evaluated in some detail, taking into account his varied sources as well his influence. Emphasis is placed on Leonardo's originality as an architectural designer, especially with reference to notable domed churches on octagonal plans with side chapels that approximate fractal designs.

South African Journal of Art History, 2014

This article expounds Edmond Bacon's "principle of the second man", formulated in h... more This article expounds Edmond Bacon's "principle of the second man", formulated in his Design of Cities (1967), as a criterion for judging the addition of another building or additional architectural structures a on a significant building site. This principle basically implies that an architect who designs a new building for a site on which a significant building already exists, or a group of buildings that spatially belong together already exist, should not detract from the merit of the work of the first architect, but, also in the case of the restoration or addition to the original, should blend the new structure with the old, not necessarily by imitation or copying. This is a test for an architect's creative ingenuity and moral responsibility, because a disharmonious architectural addition on an established site can destroy its sense of place. In broad terms, a site that may be considered as architecturally significant can be identified in various ways: it could be an enclosed space, such as most city squares in which a historically important building has pride of place; it could be a historical or culturally significance space in which a sense of place has already been established and reinforced architecturally, or, furthermore, in the case of cities regulated by law with respect to building materials, construction practices or design to ensure uniform aesthetic norms and homogenous cityscapes. On sites with a meaningful urban tradition the designs of second architects may be considered successful if they do not only not distract from the primacy of the existing main building or group of buildings that established and conserves the sense of place of the site, but instead reinforces or enhances its architectural merit and the perceptual unity of the group design. Die rol van die tweede argitek op 'n belangtike bouterrein In hierdie artikel word verder geteoretiseer oor Edmond Bacon se "beginsel van die tweede argitek" wat hy in sy Design of Cities (1967) geformuleer het as 'n kriterium vir die beoordeling van die toevoeging van 'n gebou of bykomende argitektoniese strukture op 'n belangrike bouterrein. Hierdie beginsel impliseer basies dat 'n argitek wat 'n nuwe gebou ontwerp vir 'n terrein waarop daar reeds 'n belangrike gebou of 'n groep geboue wat ruimtelik saam hoort, bestaan, nie aan die meriete van die eerste argitek nie afbreuk behoort te doen nie, maar om die nuwe struktuur, ook in die geval van die restourasie van of aanbouing, by die reeds bestaade aan te pas, nie noodwendig deur nabooting of kopiering nie. Dit is 'n toets vir 'n argitek se kreatiewe vindingrykheid en morele verantwoordelikheid, want 'n onharmoniese argitektoniese byvoeging op 'n gevestigde terrein kan die pleksin daarvan benadeel. In bree trekke kan 'n terrein wat as argitektonies belangrik beskou kan word, op verskillende maniere uitgeken word: dit kan 'n afgesluite ruimte wees soos die meeste stadspleine waar 'n geskiedkundig belangrike gehou aansien geniet; dit kan 'n geskiedkundig- of kultureel-belangrike ruimte wees waar die pleksin reeds gevestig of herbevestig is, of, in nog 'n instansie, in die geval van stede ten aansien waarvan die gebruik van boumateriaal, konstruksiemetodes of ontwerp wetlik beheer word met die doel om eenvormige estetiese norme en homogene stadslandskappe te verseker. Op terreine met 'n betekenisvolle stedelike tradisie kan die ontwerpe van tweede argitekte as geslaagd beskou word indien dit nie net nie afbreuk doen aan die voorrang van die bestaande gebou of groep geboue wat die pleksin gevestig het en steeds bewaar nie, maar daartoe bydra om die argitektoniese meriete en perseptuele eenheid van die groepontwerp van die terrein te bewaar of te verhoog.

South African Journal of Art History, 2014

The purpose of this article is first and foremost to contextualise Leonardo da Vinci's design... more The purpose of this article is first and foremost to contextualise Leonardo da Vinci's designs for an ideal city. The late Medieval cities that Leonardo was acquainted with, including Florence and Milan, were characterised by a surrounding defensive wall and distinctive architectural features, such as the centrally placed cathedral. These cities were generally overcrowded and subject to outbreaks of disease. Leonardo's innovative ideal city is planned on three levels, structurally separating all functional elements to relieve congestion and ensure hygiene. However, by retaining an enclosing wall for the proposed city, Leonardo echoed the unifying form of the traditional Medieval city. Its articulated internal functional structures may be interpreted as holons in a holarcy. Only in modern times are ideas such as the separation of areas for pedestrians and vehicular traffic in cities applied, albeit without being directly influenced by Leonardo's urban designs. Leonardo da Vinci se ontwerpe vir ideale stede gekontekstualiseer en beoordeel Die doel met hierdie artikel is eerstens om Leonardo da Vinci se ontwerpe vir 'n ideale stad te kontenstualiseer. Die laat Middeleeuse stede waarmee Leonardo vertroud was, met inbegrip van Florence en Milaan, was gekenmerk deur 'n omringende muur en uitstaande argitektoniese elemente soos die sentraal geplaasde katedraal. Hierdie stede was gewoonlik dig bewoon en onderhewig aan die uitbreek van siektes. Leonardo se innoverende ideale stad is op drie vlakke beplan waarin alle funksionele elemente struktureel geskei is ten einde verkeersdrukte te verminder en higiene te verseker. Deur egter 'n omsluitende muur vir die beoogde stad te behou, het Leonardo die eenheidsgewende vorm van die tradisionele Middeleeuse stad ge-eggo. Die geartikuleerde interne funksionele strukture kan geinterpreteer word as holons in 'n holon-hierargie. Eers in modern tye word idees soos die skeiding van ruimtes vir voetgangers en wielverkeer in stede toegepas, hoewel sonder direkte invloed van Leonardo se stadsontwerpe.

South African Journal of Art History, Apr 1, 2016

To measure time duration before the modern era a variety of devices were designed by various cult... more To measure time duration before the modern era a variety of devices were designed by various cultures, of which the sundial, candle clock, water clock, and hourglass were known in the West. The hourglass, on which the discussion focuses, was probably invented in ancient Egypt. It consists of a structure that supports two globular glass conduits connected by a slender neck through which fine sand flows alternately to demarcate more or less precise hours. It was probably reinvented by a French monk during the early Medieval period and subsequently developed to a remarkable degree of accuracy. As its use as a functional timepiece became widespread the hourglass acquired a notable presence in late Medieval, Renaissance and Baroque paintings. The way in which the hourglass makes the passage of time visible by means of flowing sand persuaded allegory-minded Europeans of its symbolic potential as a reminder of human beings’ temporary sojourn on earth. Eventually it became a conspicuous presence in representation of alchemical workshops and the Vanitas genre of pictures. The research focuses on the eminence of the hourglass as a time-keeping device and the symbolic connotations it acquired in European art. ’n Bondige geskiedenis van die sandloper : die ontwerp daarvan as ’n funksionele toestel en simboliese voorstelling in Europese kunsTen einde tydsduur te meet, het verskeie kulture voor die moderne tyd ’n verskeidenheid toestelle ontwerp, waaronder die sonwyser, kersklok, waterklok, en sandloper in die Weste bekend was. Die sandloper, waarop die navorsing fokus, is waarskynlik in Oud-Egipte uitgevind. Dit bestaan uit ’n ondersteunende struktuur vir twee balvormige geleiers aan ’n dun nek verbind, waardeur fyn sand alternatiewelik vloei om min of meer noukeurige ure aan te dui. Dit is waarskynlik gedurende die vroee Middeleeue deur ’n Franse monnik heruitgevind en is daarna tot ’n hoe mate van noukeurigheid ontwikkel. Namate die gebruik daarvan as ’n funksionele tydstoestel wydverpreid geraak het, het die sandloper ’n beduidende teenwoordigheid in laat-Middeleeuse, Renaissance- en Barokskilderye verwerf. Die wyse waarop die vloei van sand in die toestel die vloei van tyd sigbaar maak, het allegorie-bewuste Europeers van die simboliese potensiaal daarvan as ’n herinnering aan die mens se tydelike aardse verblyf oortuig. Dit het uiteindelik ’n beduidende teenwoordigheid in die voorstelling van alchemistiese werkwinkels en die Vanitas-genre van skilderye geword. Die navorsing fokus op die belangrikheid van die sandloper as ’n toestel vir die meet van tydsduur, asook die simboliese konnotasies wat dit in Europese kuns verwerf het.

South African Journal of Art History, 2009

The quality of Bert Olivier's research and the range of his interests is considerable. He is ... more The quality of Bert Olivier's research and the range of his interests is considerable. He is a philosopher with three main interests, as the volumes under discussion prove: the arts, psychoanalytic theory and communication. The synopses of the cited volumes are available on the Peter Lang Publishing websites and will not be repeated here. Instead, the focus will be on the first volume, Philosophy and the Arts.

South African Journal of Art History, 2011

Readers of this thematic issue of the South African Journal of Art History may wonder why the edi... more Readers of this thematic issue of the South African Journal of Art History may wonder why the editors decided to address the issue of the visual arts/law interface. Our answer is set out below.

South African Journal of Cultural History, 1990

Isak Dinesen (nom de plume of Karin Blixen) represents Babette as an artist who fulfils her missi... more Isak Dinesen (nom de plume of Karin Blixen) represents Babette as an artist who fulfils her mission to create.

Since 2600 BCE Niké, the ancient Greek goddess of victory, has been portrayed as a winged figure ... more Since 2600 BCE Niké, the ancient Greek goddess of victory, has been portrayed as a winged figure in sculptures, paintings and other representations. These depictions are a source for the understanding of the Niké myth and the figure's relationship to other gods and goddesses, as well as her dual relationship to war and peace. In this thematic study the development of Niké figures is traced in a series of sculptural representations of which the most famous is the Winged Niké of Samothrace in the Musée du Louvre. On some Western memorials Niké figures that resemble Christian angels are displayed to commemorate the declaration of peace. Modern artists who retained an interest in the Classical period created incomplete works that refer to incomplete archaeological finds. In our era the sculpture is not only admired for its active female form, but its origin as the representation of a maiden in the male world of war and games evoke feminist issues. Moreover, Niké as a winged goddess that could move fast became insignia for modern utilitarian products such as missiles, cars, and running shoes.

South African Journal of Cultural History, Jul 1, 1984

South African Journal of Art History, 2012

It is argued that Leonardo da Vinci's architectural designs are uniquely original due to his abil... more It is argued that Leonardo da Vinci's architectural designs are uniquely original due to his ability to connect ideas derived from a wide range of sources and his own empirical researches. This attempt at understanding Leonardo's visual thinking that is the basis of his architectural designs commences with a reference to his decorative knotted puzzle, entitled Concatenation, that symbolises a map of the universe, reminiscent of Aristotle's world view, as expressed by Dante Alighieri. Leonardo's empiricist approach to scientific research and artistic creativity also relates to Aristotle's insight into matter, form and growth patterns. His creative process in art and design was inspired by thought experiments in which his mastery of disegno enabled him to express the mutation of living forms into mechanical and architectural forms, and vice versa, to imbue the latter with a life force. His representation of fictive buildings in his paintings is surveyed, followed by a review of his architectural sketches of which his designs of centralised and longitudinal domed churches are evaluated in some detail, taking into account his varied sources as well his influence. Emphasis is placed on Leonardo's originality as an architectural designer, especially with reference to notable domed churches on octagonal plans with side chapels that approximate fractal designs.

South African Journal of Art History, 2014

This article expounds Edmond Bacon's "principle of the second man", formulated in h... more This article expounds Edmond Bacon's "principle of the second man", formulated in his Design of Cities (1967), as a criterion for judging the addition of another building or additional architectural structures a on a significant building site. This principle basically implies that an architect who designs a new building for a site on which a significant building already exists, or a group of buildings that spatially belong together already exist, should not detract from the merit of the work of the first architect, but, also in the case of the restoration or addition to the original, should blend the new structure with the old, not necessarily by imitation or copying. This is a test for an architect's creative ingenuity and moral responsibility, because a disharmonious architectural addition on an established site can destroy its sense of place. In broad terms, a site that may be considered as architecturally significant can be identified in various ways: it could be an enclosed space, such as most city squares in which a historically important building has pride of place; it could be a historical or culturally significance space in which a sense of place has already been established and reinforced architecturally, or, furthermore, in the case of cities regulated by law with respect to building materials, construction practices or design to ensure uniform aesthetic norms and homogenous cityscapes. On sites with a meaningful urban tradition the designs of second architects may be considered successful if they do not only not distract from the primacy of the existing main building or group of buildings that established and conserves the sense of place of the site, but instead reinforces or enhances its architectural merit and the perceptual unity of the group design. Die rol van die tweede argitek op 'n belangtike bouterrein In hierdie artikel word verder geteoretiseer oor Edmond Bacon se "beginsel van die tweede argitek" wat hy in sy Design of Cities (1967) geformuleer het as 'n kriterium vir die beoordeling van die toevoeging van 'n gebou of bykomende argitektoniese strukture op 'n belangrike bouterrein. Hierdie beginsel impliseer basies dat 'n argitek wat 'n nuwe gebou ontwerp vir 'n terrein waarop daar reeds 'n belangrike gebou of 'n groep geboue wat ruimtelik saam hoort, bestaan, nie aan die meriete van die eerste argitek nie afbreuk behoort te doen nie, maar om die nuwe struktuur, ook in die geval van die restourasie van of aanbouing, by die reeds bestaade aan te pas, nie noodwendig deur nabooting of kopiering nie. Dit is 'n toets vir 'n argitek se kreatiewe vindingrykheid en morele verantwoordelikheid, want 'n onharmoniese argitektoniese byvoeging op 'n gevestigde terrein kan die pleksin daarvan benadeel. In bree trekke kan 'n terrein wat as argitektonies belangrik beskou kan word, op verskillende maniere uitgeken word: dit kan 'n afgesluite ruimte wees soos die meeste stadspleine waar 'n geskiedkundig belangrike gehou aansien geniet; dit kan 'n geskiedkundig- of kultureel-belangrike ruimte wees waar die pleksin reeds gevestig of herbevestig is, of, in nog 'n instansie, in die geval van stede ten aansien waarvan die gebruik van boumateriaal, konstruksiemetodes of ontwerp wetlik beheer word met die doel om eenvormige estetiese norme en homogene stadslandskappe te verseker. Op terreine met 'n betekenisvolle stedelike tradisie kan die ontwerpe van tweede argitekte as geslaagd beskou word indien dit nie net nie afbreuk doen aan die voorrang van die bestaande gebou of groep geboue wat die pleksin gevestig het en steeds bewaar nie, maar daartoe bydra om die argitektoniese meriete en perseptuele eenheid van die groepontwerp van die terrein te bewaar of te verhoog.

South African Journal of Art History, 2014

The purpose of this article is first and foremost to contextualise Leonardo da Vinci's design... more The purpose of this article is first and foremost to contextualise Leonardo da Vinci's designs for an ideal city. The late Medieval cities that Leonardo was acquainted with, including Florence and Milan, were characterised by a surrounding defensive wall and distinctive architectural features, such as the centrally placed cathedral. These cities were generally overcrowded and subject to outbreaks of disease. Leonardo's innovative ideal city is planned on three levels, structurally separating all functional elements to relieve congestion and ensure hygiene. However, by retaining an enclosing wall for the proposed city, Leonardo echoed the unifying form of the traditional Medieval city. Its articulated internal functional structures may be interpreted as holons in a holarcy. Only in modern times are ideas such as the separation of areas for pedestrians and vehicular traffic in cities applied, albeit without being directly influenced by Leonardo's urban designs. Leonardo da Vinci se ontwerpe vir ideale stede gekontekstualiseer en beoordeel Die doel met hierdie artikel is eerstens om Leonardo da Vinci se ontwerpe vir 'n ideale stad te kontenstualiseer. Die laat Middeleeuse stede waarmee Leonardo vertroud was, met inbegrip van Florence en Milaan, was gekenmerk deur 'n omringende muur en uitstaande argitektoniese elemente soos die sentraal geplaasde katedraal. Hierdie stede was gewoonlik dig bewoon en onderhewig aan die uitbreek van siektes. Leonardo se innoverende ideale stad is op drie vlakke beplan waarin alle funksionele elemente struktureel geskei is ten einde verkeersdrukte te verminder en higiene te verseker. Deur egter 'n omsluitende muur vir die beoogde stad te behou, het Leonardo die eenheidsgewende vorm van die tradisionele Middeleeuse stad ge-eggo. Die geartikuleerde interne funksionele strukture kan geinterpreteer word as holons in 'n holon-hierargie. Eers in modern tye word idees soos die skeiding van ruimtes vir voetgangers en wielverkeer in stede toegepas, hoewel sonder direkte invloed van Leonardo se stadsontwerpe.

South African Journal of Art History, Apr 1, 2016

To measure time duration before the modern era a variety of devices were designed by various cult... more To measure time duration before the modern era a variety of devices were designed by various cultures, of which the sundial, candle clock, water clock, and hourglass were known in the West. The hourglass, on which the discussion focuses, was probably invented in ancient Egypt. It consists of a structure that supports two globular glass conduits connected by a slender neck through which fine sand flows alternately to demarcate more or less precise hours. It was probably reinvented by a French monk during the early Medieval period and subsequently developed to a remarkable degree of accuracy. As its use as a functional timepiece became widespread the hourglass acquired a notable presence in late Medieval, Renaissance and Baroque paintings. The way in which the hourglass makes the passage of time visible by means of flowing sand persuaded allegory-minded Europeans of its symbolic potential as a reminder of human beings’ temporary sojourn on earth. Eventually it became a conspicuous presence in representation of alchemical workshops and the Vanitas genre of pictures. The research focuses on the eminence of the hourglass as a time-keeping device and the symbolic connotations it acquired in European art. ’n Bondige geskiedenis van die sandloper : die ontwerp daarvan as ’n funksionele toestel en simboliese voorstelling in Europese kunsTen einde tydsduur te meet, het verskeie kulture voor die moderne tyd ’n verskeidenheid toestelle ontwerp, waaronder die sonwyser, kersklok, waterklok, en sandloper in die Weste bekend was. Die sandloper, waarop die navorsing fokus, is waarskynlik in Oud-Egipte uitgevind. Dit bestaan uit ’n ondersteunende struktuur vir twee balvormige geleiers aan ’n dun nek verbind, waardeur fyn sand alternatiewelik vloei om min of meer noukeurige ure aan te dui. Dit is waarskynlik gedurende die vroee Middeleeue deur ’n Franse monnik heruitgevind en is daarna tot ’n hoe mate van noukeurigheid ontwikkel. Namate die gebruik daarvan as ’n funksionele tydstoestel wydverpreid geraak het, het die sandloper ’n beduidende teenwoordigheid in laat-Middeleeuse, Renaissance- en Barokskilderye verwerf. Die wyse waarop die vloei van sand in die toestel die vloei van tyd sigbaar maak, het allegorie-bewuste Europeers van die simboliese potensiaal daarvan as ’n herinnering aan die mens se tydelike aardse verblyf oortuig. Dit het uiteindelik ’n beduidende teenwoordigheid in die voorstelling van alchemistiese werkwinkels en die Vanitas-genre van skilderye geword. Die navorsing fokus op die belangrikheid van die sandloper as ’n toestel vir die meet van tydsduur, asook die simboliese konnotasies wat dit in Europese kuns verwerf het.

South African Journal of Art History, 2009

The quality of Bert Olivier's research and the range of his interests is considerable. He is ... more The quality of Bert Olivier's research and the range of his interests is considerable. He is a philosopher with three main interests, as the volumes under discussion prove: the arts, psychoanalytic theory and communication. The synopses of the cited volumes are available on the Peter Lang Publishing websites and will not be repeated here. Instead, the focus will be on the first volume, Philosophy and the Arts.

South African Journal of Art History, 2011

Readers of this thematic issue of the South African Journal of Art History may wonder why the edi... more Readers of this thematic issue of the South African Journal of Art History may wonder why the editors decided to address the issue of the visual arts/law interface. Our answer is set out below.

ART AND MONEY, 2014

The focus of the paper is on the possible identification of the invisible coin in Masaccio's Trib... more The focus of the paper is on the possible identification of the invisible coin in Masaccio's Tribute Money.