Individual and collective narratives of the artistic past : the case of the Church of Saint Elizabeth, Kassa (Košice, SK) (original) (raw)
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Art and the State in Modern Central Europe (18th – 21st Century), 2021 Programme and Book of Abstracts of the Conference Art and the State in Modern Central Europe (18th – 21st Century) Faculty of Humanities and Social Sciences, University of Zagreb 30 June 2021 – 3 July 2021, Zagreb, Croatia, 2021
ART AND THE STATE IN MODERN CENTRAL EUROPE: AN INTRODUCTION N umerous researchers in various academic disciplines, including art history, history, anthropology, sociology and education, have for decades explored and attempted to define in greater detail both the synchronic and diachronic relationships and mutual influences between state bodies and art production, communication, education and reception. is conference aims to provide insight into the current field of knowledge about and interpretations of these relations from the 18th century to the present day-in other words, beginning from the period in which European states went through intense centralization, leading to the growth of their influence on artistic production, public, cultural and artistic institutions and education. In all of these contexts, the term "state" is taken to stand for a political project to assert sovereignty over a specific territory and its inhabitants, with ineluctable effects on economic, social, and cultural life within this territory. Whether they were monarchies, republics, federations or centralized bureaucracies, states played an extremely important role in the production of art and in the institutionalization of knowledge, culture and aesthetic practice in all parts of Europe throughout the aforementioned period. By fabricating their visual identity, commissioning works from particular artists and censoring those spheres of art production that they judged potentially dangerous to their survival, states have shaped art scenes in all parts of Europe. Additionally, cultural and educational policies have influenced, and continue to affect, the formation of knowledge about the arts and educational content in the field of art (history) at all levels of education. ese phenomena and topics pertaining to the broadly defined field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.), but also to other related disciplines, will be explored at this conference by 81 participant, including the two keynote speakers: Andreas Nierhaus, a curator at the Wien Museum and Mirko Ilić, a New York-based graphic designer. Our participants come from Austria,
Del pozo, Romaní and Villaplana (2016). “Conversing the Action, Narrating History, Eliciting the Present: Notes on Artistic Mediations and Practices Outstripping the Museum’s Usual Functions” in Nick Aikens, Thomas Lange, Jorinde Seijdel and Steven ten Thije (Eds): The Uses of Art. Constellations of Art, History, and Knowledge. A Critical Reader. Published by Valiz (Amsterdam) in collaboration with Van Abbemuseum (Eindhoven). ISBN: 9789492095121
Questioning the Importance of Names: Artists and Patrons in the Fourteenth-century Serbian Kingdom
Fourteenth-century Serbia was characterised by the flourishing of the arts, ranging from the proliferation of building commissions to new decorative programmes and iconographies. Three churches, which are still standing, present very unique characteristics and can be studied as a group. They all preserve their decorative programme mostly intact. The name of the patron is known, as is that of the painter. Exceptionally, both the patron and the artist are the same in all these monuments: the first being the Serbian King Milutin (1282-1321) and the latter, Michael Astrapas. This paper aims to challenge the way we think about the role and identity of artists and patrons. How does the fact that the Serbian King Milutin commissioned these churches, or that Michael painted them, increase our knowledge of them? Do we believe one of them, or even both, were in charge of the iconographic programme? Is this why their identity is so relevant to us? But what do we know about their identity in the first place, except for their names? In order to address these issues, this paper will examine the decorative programme of these churches in connection to Milutin and Michael. Specifically, I will use as a case study, the depictions of the miracles performed by Christ. By investigating the iconography of the episodes, their selection, and setting, I will explore the negotiations between these two figures, along with others, such as the architect and the designer, whose names have not been preserved.
Art In Early Modern Europe, 2016
Initially, it is a well-known fact that art has been a part of our life in every aspect for as long as humanity has existed. For this reason, it is impossible to thing people who have lived without creating, looking at, criticizing and enjoying art. Morever, art has the power to take cultural practices from somewhere to transport and to integrate them into different parts of the world without losing their identity for thousands of years. There is no doubt that this is especially important in our highly globalized world. Art has played an important role in fighting against intolerance of different cultures, racism. Human beings have used art for many things, such as especially, entertainment, cultural appreciation, aesthetics, personal improvement and even social change. The Early Modern age which we will examine witnessed the rise of the arts, literature and culture. The music, artworks and writing of the era demonstrate the diverse interests of the cultural elite of Early Modern Europe and the cultural literacy of their audiences. Information and culture were spread more and more by performance, exhibitions and the writting which allowed new ideas to spread quickly. In addition to it, social change has became the cornerstone for modern European society, politics, religion and culture. After this short introduction, in this article we will give some significant information about art in Early Modern Europe.
Attempts to explore and define in more detail, both diachronically and synchronically, relationships and mutual influences between state bodies and art production, communication, education and reception have for decades formed an important part of numerous explorations in various academic disciplines such as art history, history, anthropology, sociology, education etc. The conference aims to provide insights into the current knowledge and interpretations of these relations from the 18th century to the present day, i.e. from the period in which Europe states went through intense centralization, leading to the growth of their influence on artistic production, public cultural and artistic institutions and education. In all these contexts, the term “state” is taken to stand for a politically organized body of people usually occupying a definite territory and the political organization of such a body of people (Merriam Webster Dictionary). Regardless of whether they were monarchies, republics, federations or centralized states, state bodies played an extremely important role in the production of art and in the institutionalization of knowledge, culture and art in all parts of Europe and throughout the aforementioned period. By fabricating its visual identity, commissioning works from artists whom it considered close, and censoring those segments of art production that it judged potentially dangerous to its survival, the state has largely been shaping the art scene in all parts of Europe. Additionally, states’ cultural and educational policies have influenced (and still does) the shaping of knowledge about the arts and teaching content in the field of art (history) on all educational levels. The conference therefore welcomes contributions that deal with approaches to interpretation of these phenomena and various topics in the broad field of art history (painting, sculpture, applied arts, graphic design, photography, architecture, urban planning, curricula and study programmes in art history, etc.) but also other humanities disciplines.