Anabasis als Weg zwischen den Künsten

A work of art is most often a result of an artist's inspiration, a reflection of feelings, but often a deep insight into his own personality or events and activities around. The analysis of a work of art may reveal not only a state of mind at the moment of creation, but also a deeper background, which may be a consequence of a disease. A classic example is Van Gogh's self-portrait without the ear occurring after self-injury as a result of his mental illness. In a series of paintings and prints entitled 'The Scream' Edvard Munch clearly evokes a state of panic that used to grip him occasionally, which he even verbally depicted. A great painting poet of the first half of the twentieth century, Marc Chagall, in several of his paintings, composed during the artist's hard period, varies the theme of a double-face with one usually dark side, and the other - light, indicating a bipolar disorder. However, a picture may not only be a reflection of the spirit of the artist, but it can also indicate an organic disease. It is known that Claude Monet complained of losing sight; in fact he suffered from cataracts. He perpetuated the development of this disease by a large number of paintings and drawings of water lilies in his Japanese garden, made over the period of more than 20 years. The last of these pictures, when he could see almost nothing, seem a bit abstract, full of bright colors, so he probably wanted to offset the greyness which he was surrounded by. William Utermohlen, an American painter, who suffered from Alzheimer's disease, showed the development of the diseases in a series of self-portraits. Frida Kahlo, a brave Mexican painter, had a serious car accident when she was eighteen, which left her paralyzed for life. Severe injuries she sustained in the accident are anatomically correctly immortalized in several of her paintings. Spiritual and physical conditions of an artist as a consequence of a disease can be found in other art forms too. In his novel The Idiot, Fyodor Mikhailovich Dostoyevsky made a very striking description of an epileptic aura (a disease from which the author himself suffered). Franz Kafka in his novel The Trial gave a perfect description of the feeling of paranoia, and his story The Metamorphosis presented a hallucinatory state of the same basic disease.

Many myths, theories, and speculations exist as to the exact etiology of the diseases, drugs, and chemicals that affected the creativity and productivity of famous sculptors, classic painters, classic music composers, and authors. To emphasize the importance of a modern clinical chemistry laboratory and hematology coagulation laboratory in interpreting the basis for the creativity and productivity of various artists. This investigation analyzed the lives of famous artists, including classical sculptor Benvenuto Cellini; classical sculptor and painter Michelangelo Buonarroti; classic painters Ivar Arosenius, Edvard Munch, and Vincent Van Gogh; classic music composer Louis Hector Berlioz; and English essayist Thomas De Quincey. The analysis includes their illnesses, their famous artistic works, and the modern clinical chemistry, toxicology, and hematology coagulation tests that would have been important in the diagnosis and treatment of their diseases. The associations between illness and art may be close and many because of both the actual physical limitations of the artists and their mental adaptation to disease. Although they were ill, many continued to be productive. If modern clinical chemistry, toxicology, and hematology coagulation laboratories had existed during the lifetimes of these various well-known individuals, clinical laboratories might have unraveled the mysteries of their afflictions. The illnesses these people endured probably could have been ascertained and perhaps treated. Diseases, drugs, and chemicals may have influenced their creativity and productivity.

Originating in the late fifth century ad, the image of the Crucifixion of Jesus Christ was one of the most popular and varied subjects in Western art. Its predominance continued for over 1200 years. However, in the late seventeenth century, it suffered an unexpected demise because of the rise of the middle class, and the emergence of materialism, rationalism, and anti-clericalism. Rembrandt was the last major artist to paint this theme, and for almost two hundred years afterwards no major artists concerned themselves with this powerful and poignant subject. From the middle'to the late nineteenth century a revival of the Crucifixion began with French artists such as Eugene De1acroix, Gustave Moreau, Paul Gauguin and the American painter and photographer, Thomas Eakins, among others, reviving the theme. This interest has surprisingly continued into the twentieth century and major painters such as Marc Chagall, Pablo Picasso, Paul Delvaux, and Salvador Dali among others have found new meaning in the Crucifixion.

Print in the Western is a comprehensive history of the print from its origins in the fifteenth through the late twentieth century. A source of inspiration to many great painters, such as Titian, Rembrandt, and Manet, printmaking has established its own criteria of aesthetic excellence as well as its own expressive language, both of which are explored here. Scholars and print collectors will find in this well-written and generously illustrated book a valuable reference, students a lucid survey, and art lovers an informative introduction to the history of the print in Europe and America. More than 700 illustrations, forty-nine of them in color, show the evolution of the relief, intaglio, planographic, and stencil processes through the centuries. Giving detailed treatment to the work of five master printmakers Albrecht Durer, Rembrandt van Rijn, Francisco Goya, Pablo Picasso, and Jasper Johns the book also discusses in depth numerous other artists, such as Martin Schongauer, Andrea Mantegna, Hendrik Goltzius, Jacques Callot, Giovanni Battista Piranesi, William Hogarth, Honore Daumier, Edouard Manet, Paul Gauguin, Edvard Munch, Kathe Kollwitz, Max Ernst, and Andy Warhol. Although its primary focus is the fine-art original print, The Print in the Western World also addresses in detail the reproductive tradition in printmaking that reached its peak in the eighteenth century and touches on book illustrations, posters, political satires, and vernacular prints such as chromolithographs. Author Linda C. Hults emphasizes the meaning and historical context of prints, the consequences of the print's accessibility to many strata of society, and the relationship among artist, context, subject matter, and technique. The volume includes a glossary of basic printmaking terms, as well as full bibliographies at the end of each chapter, giving readers access to a wide range of recent scholarship on prints.

Tuberculosis (TB) is an ancient disease, recognized in Egyptian mummies and defined by Hippocrates as “phthisis” ( φθίσις , Greek for “consumption”)1. Over the centuries, the epidemiology of TB was characterized by a long period of a relatively stable incidence rate of infection, but the crowding of European cities and the Industrial Revolution favored the spread of Mycobacterium tuberculosis , and TB became an epidemic, a devastating disease with a high mortality rate2. The frequency of TB probably reached its peak in the 18th and 19th centuries with an estimated prevalence in Europe of 900 deaths per 100,000 persons3. This impressive flagellum had a strong influence on social life, and famous artists such as poets John Keats, Percy Bysshe Shelley, and Giacomo Leopardi, authors Robert Louis Stevenson, Emily Bronte, Katherine Mansfield, and Edgar Allan Poe, musicians Niccolo Paganini and Frederic Chopin, and sculptor and painter Amedeo Modigliani were all affected. Contemporaneously, TB became a preferred subject in the arts, as witnessed by Edvard Munch’s portrait of his sister Sophie dying of TB and the touching histories of protagonists of lyric opera such as Mimi in Puccini’s La Boheme and Violetta in Verdi’s La Traviata . Over the following decades, public health measures, improvements in microbiology procedures with the isolation of M. tuberculosis by Robert Koch, and the availability of effective therapies led to a reduction in the incidence of this disease. In the United States, there was a 6% yearly progressive decline in the incidence of TB until 1980, followed by a recrudescence of recorded TB cases, with an increase of 20% between 1985 and 1992 owing to the spread of human immunodeficiency virus (HIV)4. Once again, public health …

The article presents paintings by famous artists on "maternal death": Edvard Munch "The Dead Mother and Child", Pablo Picasso "Motherhood", Egon Schiele "Pregnant Woman and Death" and "The Dying Mother", Frida Kahlo "My Birth", Gustav Klimt "Death and Life" as well as their description.

Two potent myths have traditionally defined our understanding of the artist Edvard Munch (1862--1944): he was mentally unstable, as his iconic work The Scream (1893) suggests, and he was radically independent, following his own singular vision. Becoming Edvard Munch: Influence, Anxiety, and Myth persuasively challenges these entrenched perceptions. In this book, Jay A. Clarke demonstrates that Munch was thoroughly in control of his artistic identity, a savvy businessman skilled in responding to the market and shaping popular opinion. Moreover, the author shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munch's paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munch's diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal. Becoming Edvard Munch features beautiful color reproductions of approximately 150 works, including 75 paintings and 75 works on paper by Munch and his peers.

“La noche estrellada” y “El grito” son las pinturas más conocidas de Vincent van Gogh y de Edvard Munch respectivamente. Edvard Munch y Vincent van Gogh han llevado al arte la comunicación de la vida, de sus propias experiencias personales y de sus pasiones. Una comunicación con un enfoque universal en la mente humana, creadora realmente de un conjunto de circunstancias psicológicas con atractivo universal, algo que todavía nos comunica todo ser humano. Por lo tanto, esta investigación se centrará en la connotación de símbolos y en el significado de dos grandes dibujos que, además de pinturas, representan también el sentido icónico de lo humano, un sentido yuxtapuesto entre el arte y el realismo de la vida.

Dobychina’s name and her Art Bureau are mentioned in the bibliography dedicated to the history of modernism thanks to the “Last Futurist Exhibition. 0,10” which was held there in December, 1915–January, 1916. However, it should be noted though that Dobychina hardly belonged to the radical avant-gardists. Her interests as a collector and a curator in the pre-revolutionary years included artists of the World of Art and the Blue Rose groups, but she also had in her possession some artworks by Natal’ia Goncharova, Mikhail Larionov, David Burliuk, Natan Al’tman, Marc Chagall, Wassily Kandinsky. The documents from the Dobychina’s archive, kept at the State Russian library, prove that she played an important role in the art field and acted as an art dealer both before and after the October revolution. In the early 1920s, she was in charge of the exhibition departments of the several institutions in Petrograd (Leningrad), from 1932 to 1934 she worked as a senior researcher at the State Russian Museum; after that she moved to Moscow, where she headed the Art Department of the Revolution Museum. Throughout these turbulent years she tried to keep her art collection. The three collection inventories, compiled in 1919, 1924 and 1930, show that some artworks constituted the collection’s integral part and not intended for selling. The most striking paintings and graphics by Mikhail Vrubel’, Valentin Serov, Viktor Borisov-Musatov, Dmitriĭ Stelletsky, Alexandre Benois, Martiros Sar’ian, apparently, belonged to Dobychina for decades and were sold mostly after her death to the famous Soviet collectors – Solomon Shuster, Aram Abramian, Aleksandr Miasnikov, and Valeriĭ Dudakov.

The present article explores the decades-long correspondence between Marc Chagall and David Lazer. Born in Kraków, Lazer was the son of a Hebraist who edited a respected Jewish journal. Following in his father’s footsteps, David was the editor-in-chief of the Nowy Dziennik, a Polish-language Zionist weekly. After immigrating to Palestine, he co-founded the Israeli newspaper Maariv and served as the editor of its literary supplement. The journalist had a true passion for literary journeys, which were the backdrop for many of the works he penned. Some of these pieces were devoted to the cultural heritage of European Jewry, including the life and enterprise of Marc Chagall. In the pages ahead, we will take stock of the relationship between these two figures. The paper also unfurls the story behind Jerzy Ficowski’s “A Letter to Marc Chagall” as well as the painter’s illustrations for this harrowing poem. In addition, we unveil the original manuscript of a speech that Chagall gave at the dedication of his stained-glass windows for the Hadassah Medical Centre in Jerusalem.

This thorough introduction to modern-day Norway and Norwegian culture shows the impact a small country can have on the world in terms of peace building, environmental issues, technological innovation, and more. Culture and Customs of Norway provides an up-to-date view of Norway, showcasing a nation that is part of modern Europe, yet zealously maintains its own culture and identity. Providing the most current information on a broad range of topics—including cinema, literature, food, art, performing arts, and architecture—the book also places modern-day Norway in a historical context that makes it possible to understand how Norwegian culture came to be as it is today. Readers will discover a nation that is a fascinating juxtaposition of advanced technology, especially in such fields as oil production and climate, and some of the most spectacular natural beauty in the world. They will read about such famous writers, artists, and composers as Henrik Ibsen, Edvard Munch, and Edvard Grieg. And they will discover how Norway confronts the challenges of modern society without sacrificing its social-democratic philosophy of social justice and shared responsibility, both at home and globally.

This paper describes a method to identify artists with a similar painting technique using a semi-unsupervised learning approach. In this paper, we compared Van Gogh and Paul Gauguin since both use impasto painting technique. The contribution of this paper lies in the use of Convolutional Sparse Autoencoder to classify Van Gogh and Paul Gauguin’s paintings. The dataset consists of 450 Paul Gauguin’s paintings and 716 Van Gogh’s paintings. The best result was achieved by using 100 hidden neurons with test accuracy 63.85%, precision 64.12%, and recall 63.85%.

"The Conscience of Vincent Van Gogh." Baylor University Medical Center Proceedings, 23(1), pp. 31–32

BOOK REVIEWS519 tion and -works by Chinese, black American, Australian aboriginal, Native American, and other artists. There are reproductions of Marc Chagall's "Yellow Crucifixion," Edvard Munch's "Golgotha," William Johnson's "Mount Calvary," Caravaggio's "Supper at Emmaus," and Horace Peppin's "The Crucifixion." Because of such wide-ranging styles, the illustrations are appealing to people of all ages, social backgrounds, religious persuasions, and educational levels. It is unfortunate that the illustrations are not accompanied by clear identifications; one has to turn to the illustrations credits at the back of the book for that information . Like the original lectures on which the book is based and which were intended for an audience representing both town and gown, The IllustratedJesus beckons an audience of believers and skeptics alike. It shows, in Pelikan's own words, that "Jesus is far too important a figure to be left only to the theologian and the church." The book is dedicated to the Benedictines of Saint John's Abbey, Collegeville, Minnesota,"nihil amori Christi praeponere." R. Kevin Seasoltz, O.S.B. SaintJohn'sAbbey Collegeville, Minnesota Tradition & Diversity: Christianity in a World Context to 1500. By Karen Louise Jolly. [Sources and Studies in World History.] (Armonk, New York: M. E. Sharpe. 1997. Pp. xiv, 569. $64.95 cloth; $28.95 paper.) For a number of reasons, this is a welcome new anthology of sources for teaching the history of Christianity to 1500. First of all, some of the best readers in ancient and medieval Christianity published in the past half-century are now out of print. (One thinks, for example, of the first volume of Ray Petry's A History ofChristianity:Readings in the History ofthe Church [Grand Rapids, Michigan: Baker, 1962; repr. 1981, 1988].) But even if some of the earlier anthologies were still in print, there is reason to salute the arrival ofJolly's. The times change how history is written, how it is presented to students and, clearly, how documents are chosen and taught. Indeed, it is impossible to imagine any American historian making this selection of documents much before 1990. Especially hard to imagine such a selection being made when Petry or Colman Barry (Readings in Church History:From Pentecost to the Protestant Revolt [Westminster, Maryland, I960] , a Benedictine and then professor of history in St.John's University, Collegeville, Minnesota, first made theirs. Both Barry and Jolly begin their readers with selections from the canonical scriptures of Christianity . Here are the titles Barry gives to his first five scriptural readings: "The Promise of the Primacy to Peter,""The Authority of the Apostles,""The Commission of the Apostles," "The Conferring of the Primacy on Peter," and "Peter, the Guide of the Apostles."Jolly, associate professor of history in the University of 520BOOK REVIEWS Hawaii at Manoa, gives this title to the chapter containing the scriptural documents :"Jew and Gentile: Early Origins of Christianity."And these are the titles of six of Jolly's other chapters: "Christian and Roman: Conflict and Assimilation," "Adaptations of Christianity Outside the Roman World,""Christian Acculturation in Western Europe," "Christian Diversity and Accommodation," "Cross-Cultural Exchange: Missions and Dialogue," "Cross-Cultural Contact." Two of the other chapters have the word "Diversity" in their titles, as does the title of the book. In addition to marking quite vividly the intellectual distance traveled in the four decades since Barry's book was published, those titles tell us a lot about the principle of selection at work here. In addition to presenting documents reflecting the "older" but "still valuable" approach to Christian history (Jolly's words, see pp. 3-5)—i.e., the records of councils, papal decisions, wars, spectacular conversions, the writings of influential scholars, and so forth—Jolly has chosen documents that emphasize a number of other, characteristically late twentieth-century themes: the notion that European Christianity was just one, culturally determined brand of Christianity, and that other, geographically diverse forms ought to be represented (they are here); that Christianity often found itself in "cross-cultural interaction"with other religions and societies; that there is a "diversity of voices" (p. 5) within Christianity that in some sense compete with an "official view" and that these should be heard...

The discovery of hidden facial images in the paintings of Vincent Van Gogh and Paul Gauguin by using computer graphics enhancement techniques