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Full-Text Articles in Art and Design

Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond Jan 2017

Ellis H. Minns And Nikodim Kondakov’S The Russian Icon (1927), Wendy Salmond

Art Faculty Books and Book Chapters

"Kondakov’s magnum opus [The Russian Icon] failed to win an audience. Though it appeared just in time for a surge of popular interest in Russian icons abroad, it never became the book of choice for the English-speaking public seeking a guide through the ‘dark forest’ of the icon’s history... My chapter offers some suggestions for why this crude caricature of Kondakov’s work took hold in the 1920s and became axiomatic throughout the Soviet period. In particular, it considers the role that Minns’s translation may have played, however inadvertently, in cementing this impression. Minns’s interventions in ...


Francisco Pedro Do Amaral (C. 1780-1830), Amy J. Buono Jun 2016

Francisco Pedro Do Amaral (C. 1780-1830), Amy J. Buono

Art Faculty Books and Book Chapters

A biographical essay on Francisco Pedro do Amaral (c. 1780–1830), Afro- Brazilian painter, stage designer, and decorative artist.


Capomastro And Courier: Giacomo Borzacchi And Bernini's Equestrian Statue Of Louis Xiv In Transit, Karen J. Lloyd Oct 2015

Capomastro And Courier: Giacomo Borzacchi And Bernini's Equestrian Statue Of Louis Xiv In Transit, Karen J. Lloyd

Art Faculty Books and Book Chapters

"On February 24, 1684, Giacomo Borzacchi was given small iron pegs and wooden wedges by the members of the Fabbrica (Building Works) of St. Peter's, "which he needs for the armature that he is making for the horse and statue of the King of France."1 Borzacchi was a kind of handyman-a mason and engineer-who was in the regular employ of the Fabbrica for almost 30 years. His project in 1684, the "armature," must have been the wooden support structure needed to safeguard Gian Lorenzo Bernini's equestrian statue of French King Louis XIV on its long trip to ...


Pavel Tretiakov’S Icons, Wendy Salmond Jun 2014

Pavel Tretiakov’S Icons, Wendy Salmond

Art Faculty Books and Book Chapters

"Between 1890 and his death in 1898, the Moscow art collector Pavel Tretiakov acquired sixty-two icons of the sixteenth and seventeenth centuries. With this comparatively late entry into the world of icons, Tretiakov laid the foundation for one of the world’s greatest collections of medieval Russian paintings. Why is it, then, that Tretiakov’s icons are today so rarely mentioned and so hard to find? The most practical explanation is that they were simply swallowed up into the vast repositories of the reorganized State Tretiakov Gallery in 1930, along with thousands of icons from churches and private collections nationalized ...


An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond Jan 2013

An Imperial Collection: Exploring The Hammers' Icons, Wendy Salmond

Art Faculty Books and Book Chapters

"Changing hands one last time, in the 1950s, for many years the icons at BJU lived as it were incognito, the details of their glamorous origins largely forgotten. Reuniting this core group-the cream of the Hammers' imperial icons--with others that passed into American museums in the 1930s allows us to appreciate the full significance of Armand and Victor Hammer's foray into marketing icons Americans.Viewed in isolation, most of their "imperial icons" are perhaps no mo than a poignant reminder of the vast destruction and dislocation of Orthodox culture during the Soviet Cultural Revolution. Taken together, however, they paint ...


Crafts Of Color: Tupi Tapirage In Early Colonial Brazil, Amy Buono Jan 2012

Crafts Of Color: Tupi Tapirage In Early Colonial Brazil, Amy Buono

Art Faculty Books and Book Chapters

"Tyrian purple. Lamp black. Lead white. Cadmium yellow. Ultramarine blue. The materiality of color, as it is often discussed, has a fixed quality. Pigments and dyes derived from many natural substances-minerals, earths, plants, and animals-have stable optic qualities. Lapis lazuli can be reliably counted upon to be blue. Dyes made from cochineal consistently fall within a certain range at the red end of the spectrum. Similarly, we might expect that the green feathers of a bird such as the Festive Parrot (Amazona festiva), after molting, would be replaced by equally green plumes. As the excerpt above suggests, from a letter ...


Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond Jan 2010

Foreword To Irina Yazykova, Hidden And Triumphant: The Underground Struggle To Save Russian Iconography, Wendy Salmond

Art Faculty Books and Book Chapters

Wendy Salmond's foreword to Irina Yazykova's Hidden and Triumphant: The Underground Struggle to Russian Iconography, in which Yazykova discusses how the art of icon painting survived during years of Russian Communism and is now poised to launch a new era that reflects modern experience.


Introduction To Visualizing Russia: Fedor Solntsev And Crafting A National Past, Wendy Salmond, Cynthia Hyla Whittaker Jan 2010

Introduction To Visualizing Russia: Fedor Solntsev And Crafting A National Past, Wendy Salmond, Cynthia Hyla Whittaker

Art Faculty Books and Book Chapters

Wendy Salmond and Cynthia Hyla Whittaker's introduction to Visualizing Russia: Fedor Solntsev and Crafting a National Past, which "elaborates the origins of the Russian style in the 1830s and 1840s and celebrates the seminal role that Fedor Grigorevich Solntsev (1801-1892) played in its development."


How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond Jan 2010

How America Discovered Russian Icons: The Soviet Loan Exhibition Of 1930-32, Wendy Salmond

Art Faculty Books and Book Chapters

On 14 October 1930, the first exhibition of Russian icons ever to take place in the United States opened at the Museum of Fine Arts in Boston. Over the next nineteen months it traveled to nine venues across the country, introducing the American public to a form of medieval painting virtually unknown outside Russia. Billed as the "Union of Soviet Socialist Republics Loan Exhibition," its avowed goal was to share with the outside world the full story of Russian icon painting's evolution from the twelfth to the nineteenth centuries, thereby adding a vital missing chapter to the history of ...


Tupi Featherwork And The Dynamics Of Intercultural Exchange In Early Modern Brazil, Amy J. Buono Jan 2009

Tupi Featherwork And The Dynamics Of Intercultural Exchange In Early Modern Brazil, Amy J. Buono

Art Faculty Books and Book Chapters

"The Tupi of sixteenth- and seventeenth century coastal Brazil were renowned as fiercely warlike and, more sensationally, as cannibals. They were also famed for their ritual featherwork capes made from scarlet ibis feathers, which were closely associated with both war and anthropophagic rituals (see figure). For the semi-nomadic Tupi, featherwork was highly valued, the capes being among the only things that they carefully preserved and carried with them as they moved from site to site."


Jean-Baptiste Debret’S Return Of The Negro Hunters, The Brazilian Roça, And The Interstices Of Empire, Amy J. Buono Oct 2007

Jean-Baptiste Debret’S Return Of The Negro Hunters, The Brazilian Roça, And The Interstices Of Empire, Amy J. Buono

Art Faculty Books and Book Chapters

"Despite the range of subjects that Debret illustrates, historians of Brazil have usually only reproduced his images of Afro-Brazilian slaves. This is understandable, given the political, social and economic interest in the topic and the fact that Debret is one of the few artists who portrayed the horrors of slavery in Brazil at so early date.3 The keen interest in slavery as an historical topic has also led some scholars to assume that all Afro-Brazilians depicted in Debret's volumes are slaves, when many individuals may in fact have been free.4 While acknowledging the importance of examining Debret ...


Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; And Scenography, Amy J. Buono Jan 2003

Gunther Gerzso: Chronology; Bibliography; Exhibitions; Filmography; And Scenography, Amy J. Buono

Art Faculty Books and Book Chapters

Dr. Buono wrote the Chronology and Bibliography, Exhibitions, Filmography, and Scenography sections for the catalogue for the "Risking the Abstract: Mexican Modernism and the Art of Gunther Gerzso" exhibition at the Santa Barbara Museum of Art.


Arts And Crafts In Late Imperial Russia: Reviving The Kustar Art Industries, Wendy Salmond Jan 1996

Arts And Crafts In Late Imperial Russia: Reviving The Kustar Art Industries, Wendy Salmond

Art Faculty Books and Book Chapters

Arts and Crafts in Late Imperial Russia is the first account of the revival of Russia's kustar art industriespeasant crafts of wood carving, toy production, lacemaking, embroidery, and weaving - from its origins in the populist debates and philanthropic impulses of the early 1870s to its climax in 1913, with the display of its achievements at the Second All-Russian Kustar Exhibition in St. Petersburg. Like every Western nation in the late nineteenth century Russia experienced a widespread movement to revive its traditional arts and crafts. This study uncovers the complex motivations that led a broad cross section of educated Russian ...