Arts

This article investigates the role of wall surfaces as an interactive medium in the First Pompeian Style, referring to examples from Pompeii. Five different aspects are investigated in more detail: (1) surfaces and their relation to the core; (2) surface qualities; (3) surfaces as image carriers; (4) surfaces and their relation to the physical space; (5) surfaces and their relation to the social space. These aspects allow for a deeper understanding of the First Style’s ornamental, pictorial and spatial qualities. In this view, surfaces can be conceived as media interfaces. Full article

Evidence for industrial scale production of numerous manufacturing processes has been attested in all phases of occupation at Poggio Civitate (Murlo). A subset of these, tools for the production of textiles and fibers, indicates that textile crafts were manufactured on a large scale as a part of a centralized and organized industry. These industrialized practices occurred within and around the monumental seventh and sixth century BCE complexes which displayed architectural decoration bearing iconographic themes that served to secure the positions of the aristocratic elites. This paper investigates the stamped decoration present on rocchetti and its relationship to the architectural decoration present on the monumental structures of the site. As small moveable objects used by members of the community, rocchetti present an opportunity to investigate the movement of elite images through the non-elite population of a community and their reception of aristocratic ideology presented in monumental structures. Full article

In 1989, the artist Jan Vercruysse (1948–2018) stated that he was “the last Flemish Primitive”. This comment, despite being only a fragment of a lengthy interview with Carolyn Christov-Bakargiev, became a trope in subsequent writings on Vercruysse. I argue that the statement was part of a deliberate strategy by Vercruysse in shaping his identity as a (Belgian) artist. First, I focus on Vercruysse’s Portraits of the Artist (1979–1984), a series of photographic works in which he uses the genre of the self-portrait—thereby implicitly referring to the Flemish Primitives—as a means to express the constructedness of artistic identity. Second, I explore Vercruysse’s construction of his identity and his relationship vis-à-vis the notion of Belgian art. Finally, the statement uttered in 1989 will be contextualized within the changing political and cultural context of Belgium and Flanders in the 1980s. I demonstrate how the statement can be read as invoking a radically different conception of Belgian art during this period. Full article

This paper presents the theoretical assumptions and design praxis concerning colour schemes used in the multi-threaded Moderne, Streamline Moderne and Art Deco styles, which were used in Germany during the interwar period to design commercial facilities. We based our analysis on selected cases of department stores built in the years 1927–1930 in Berlin and Wrocław (Breslau at the time). Streamline Moderne and Art Deco, which was present in Germany alongside Expressionism, operated using a simple spatial structure that followed the precepts formulated by the Bauhaus: it featured rhythmically divided, disciplined facades clad in ceramics, sandstone or travertine, as well as large storefront windows with brass frames. These Modernist compositions were enriched with ceramic or brass cornices and friezes, overhangs and full-figure sculptures that were often gilded. The buildings’ interiors, designed following the principles of efficiency and functionality, had spatially accentuated and colour-marked entrance zones and grand, glazed courtyards that were given an expressive décor via ceramics, stone or exotic wood. The expression of these compositions was underscored by linear illumination and cascade-like chandeliers that formed light sculptures. In our paper, we also presented problems associated with the contemporary revitalisation and reconstruction of such buildings. We specifically focused on research findings that identified original ceramics production technologies and methods that allowed the recreation of the texture and colour of the facade of the A. Wertheim department store in Wrocław. Full article

In contemporary architecture, a border between an exterior and an interior—a façade—is variously designed in terms of form, style, response to climate or culture, individual approach or tools used. Despite the diversity and multi-tread theoretical and practical discourse, the Authors propose the typology of contemporary façades for public buildings (open to society) in the context of European cities by extracting comprehensive architectural features. The term systematic reflects the complexness of the issue by the newly proposed element. Namely, it is a representation of a particular architectural feature with the use of scale. The elaboration consists of (1) an introduction with a literature review and thesis, (2) our aim and method, (3) a historical background; case studies, and systematics introduction (4) conclusions with typology proposal. Full article

From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples. Full article

Architects’ approach towards colour in architectural design evolved radically in the recent 50 years, and ranges from a modernist aversion to a vernacular appreciation. These changes were linked to the development of culture, technology and scientific knowledge in different areas connected to human functioning. The authors have examined evolution in design of tall buildings in the Isle of Dogs in London (UK) since the 1980s. The area experienced major growth spurs in the turn of the 20th and 21st centuries, resulting in the greatest concentration of tall buildings in London today. The Island has been a playground for architects who have developed a range of approaches to the design of towers. The authors observed the evolution of architectural style, analyzed application of colour and made connections between scale, beauty and human behaviour. They concluded that colour in tall buildings’ architecture on the Isle of Dogs is predominantly used to disguise their massing. Colour detail facilitates the domestic feel of a public realm. Therefore, alongside decorative quality, and if considerately applied, colour may positively influence the quality of living and working environments. Full article

The aim of this article is to discuss the colour transformations of one of the most representative Gothic façades in Central Europe—the southern façade of Wrocław Town Hall. Based on iconographic, architectural, and stratigraphic research, it was possible to find the remains of two stages of medieval colour changes. Based on these discoveries, an attempt was made to reconstruct both phases of the medieval colour scheme. The research findings enable the object to be described with regard to the architecture and colours of late gothic façades in Poland, Czechia and Germany. Full article

Care takes time. Caring, whether with, for, or about a living being or entity that is more-than-human, disrupts expectations of how a linear, human time should progress. To practice care for the contaminated, the lands, waters, and animate life altered by human industry, is to extend that indeterminacy into distant, deeper time. Aesthetic representation of the affective and ethical dimensions of care, in this extreme, offers an experience that can transfer the arguments about nuclear contamination into more nuanced and sensed responses and contributes to current thinking about care in the arts worlds. I was commissioned to make a sculpture exhibition in 2020 as part of an anthropological study into the future of the Sellafield nuclear site in West Cumbria, UK. The exhibition, ‘x = 2140. In the coming 120 years, how can humans decide to dismantle, remember and repair the lands called Sellafield?’, consisted of three sculptural ‘fonts’ which engaged with ideas of knowledge production, nuclear technologies, and the affective dimensions of care about/for/with the contaminated lands and waters. This article presents my intentions for the sculptures in their context of a nuclear-dependent locale: to engage with the experience of nuclear futures without adversarial positioning; to explore the agential qualities of the more-than-human; and to create a stillness expressive of the relationality of the human and the contaminated through which one could fathom what care might feel like. These intentions are alongside theories of time, aesthetics, and care across disciplines: care and relational ethics, science and technology studies, and nuclear culture. Full article

Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger countries in the post-war “Eastern Bloc”, socialist realism was the only permitted creative method in the years 1949–1956. The ideologists of the new art assigned a special role to sculpture, which, next to posters and murals, was considered the most socially accessible form of artistic expression due to the possibility of placing it in public space. Monuments as material carriers of ideology were used as an expression of power, but they also marked the places of strengthening collective identity. During the period of socialist realism in Poland, sculptural activity followed the main three directions: heroic, portrait, and architectural–decorative. Therefore, this paper aims to present theoretical and ideological assumptions relating to socialist sculpture and their confrontation with realisations in Poland during the period of the Soviet artistic doctrine. The paper also presents the aesthetic paradigms of socialist sculptures and their relationships with the canons of European art, and, for Poland, also with the native art, mainly sacral. Full article

Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts. Full article

The Crucifixion and Last Judgment, or the so-called New York Diptych, is one of the most controversial paintings attributed to Jan van Eyck (ca. 1390–1441) and his workshop. For well over a century, art historians have vigorously discussed its attribution, composition, functional intent, and even its dating. In light of prior scholarship addressing these remarkable panels, this paper focuses on the skeleton represented in the Last Judgment to reveal its iconographical meanings. Specifically, I highlight the inscriptions written on the skeleton’s wings, suggesting that the texts were cited from an All Saints’ Day sermon delivered by the Burgundian abbot Bernard of Clairvaux (1090–1153) who discussed a temporal location for blessed or sinful souls. Full article

In Ptolemaic Egypt (ca. 332–30 BC), numerous physical spaces served as loci of identity negotiation for elite individuals inhabiting a setting where imported Greek traditions interacted with local Egyptian ones. Such negotiations, or maneuverings, often took place through visual culture. This essay explores a sample of the Greek architectural elements and surface decorations used in wealthy Ptolemaic homes and what they communicate about the residents’ sense of identity. The decorative choices made for a home conveyed information about the social status and cultural allegiances of its owner(s). Some comparisons are possible between Ptolemaic homes in Alexandria, the Delta, and the Fayyum and those from other Hellenistic sites in the eastern Mediterranean such as Priene and Delos. Elites in Alexandria and the Egyptian chora incorporated Greek traditions into their homes and adapted them in increasingly novel ways, creating architecture and surface decoration that was uniquely Ptolemaic. These households were visually in dialogue both with broader Hellenistic trends and with their Egyptian context. Full article

The article is based on the research conducted by the authors. The houses from the ancient town discovered in 1985 on the Mediterranean coast at the location of today’s Marina el-Alamein, are among the rare remains of Egyptian residential buildings from Hellenistic and Roman times. There are few remains of houses from this period in major cities, including the capital of Alexandria. The ancient town, which functioned under the influence of nearby Alexandria, developed from the second century BC to the sixth century AD. Various types of buildings, relatively well preserved here, provide information on a reduced scale about the architecture of Alexandria, as well as the lives of its inhabitants. This also applies in particular to residential houses, their décor and colours. The ancient town of Marina el-Alamein can be seen as demonstrating solutions that are more common. The present article aims to analyse the preserved remains of painting decoration in the main spaces of houses and attempts to reconstruct forms and the principles of their creation on the background of better-known solutions from other regions. Houses in Marina generally implemented layouts defined by flagstone-paved portico courtyards, sporadically taking the form of an incomplete peristyle, and reception halls oikos, which could be accompanied by smaller adjoining rooms. Both the columns and entablature with the cornices of the porticoes as well as the walls of the main rooms were painted. Wall decoration was organised by geometric partitions, filled in variously. The aedicula that served religious purposes, placed centrally in the rear walls of the main reception rooms, was also polychrome. The painted decoration can be reconstructed from the preserved remains, as rich and intensely colourful, similar to Hellenistic and Roman layouts from other regions, but differing in details. Full article

Parasomnia (2019), a site-specific participatory performance by Patrícia Portela (PT/BE), addresses sleep in its biological and cultural meanings while retrieving its historicity. Sleep is one of the last resistance gestures against capitalised lives, opening a gap for social change through the aesthetic dimension as an extension of arts in politics. Parasomnia raises awareness for empathy and unproductiveness by inviting spectators to take a massage and eating delicacies. Bodily senses are therefore a way to activate potentials and becomings. Often understood as weaknesses and vulnerabilities, the actions elicited—contemplating, caring, and resting—bring up a strength and a capacity to arouse the imagination and fabulation as political acts. It is also argued that dimensions such as fantasmatic, cyclicity, and subjectivity are key social outputs of Parasomnia. Allowing for a pause in a continuous stream of goals, of connectivity and consumption, and without commodification purposes, sleep may return us to a sense of our own interiority made of several layers: like a fall into the sleep that enables alterity to emerge inside the self. Full article

Although dance as a topic has been explored through various theoretical and thematic discourse, little attention has been paid to the presence of dance motifs in Christian imagery. An examination of Orthodox Macedonian medieval fresco painting provides a fascinating point of entry into this overlooked subject. Analysis reveals the presence of two dominant approaches, conditioned primarily by the position of dancing in the philosophical-ethical discourse present in the Bible and other late antique and medieval theological texts. Some frescoes and icons show the body as a channel through which the Lord is glorified. Others show it as an instrument and reflection of immorality instigated by demonic powers. As in each approach, the bodies have differing semantic qualities, valuable information can be obtained about the performing practices present in this historical period. Full article

Based upon the example of the historic palace and park complex in Maciejewo (Matzdorf), in Western Pomerania, Poland, the issues of the adaptation of historic mansions and palaces to modern functions are discussed. The palace in Maciejewo illustrates the thesis that, in order to survive, historic buildings must be used for purposes corresponding to their structure. Many historic residences in the Western Lands have lost their original function and need a new one to survive. These processes of functional adaptation, in some cases, have to be repeated, when monuments become affected by a loss of their functionality. The concept of “re-adaptation” is introduced, in the sense of the revitalization of a facility, combined with a change in its function. The palace in Maciejewo is an example of a facility that is undergoing another functional metamorphosis—adaptive re-use—after having been an agricultural school, a recreation centre and a hotel, to its current phase of becoming an exclusive nursing home. The article discusses the necessary architectural changes resulting from the introduction of a new function (in the case discussed, that of a nursing home). The re-adaptation was carried out considering conservation guidelines and according to adaptive re-use methodology. Full article

The Vienna Academy was the most important art academy for German-speaking artists in the Baroque period. It shaped the development of art in the capital of the Habsburg monarchy as well as on its periphery, including in Silesia, yet the relationships between Silesian sculptors and painters and the Vienna Academy have been overlooked by scholars. Research in the Academy archives sheds light on a number of important issues related to the social, economic, and artistic aspects of the education and the subsequent activities of Vienna Academy alumni. Surviving student registers record the names of Silesian painters and sculptors studying in Vienna and offer insights into other aspects of education at the Academy. Full article