Artistic Mission Research Articles

A study on the missionary method in New Spain in the 16th century: focused on cultural and artistic mission of the mendicant orders

A study on the missionary method in New Spain in the 16th century: focused on cultural and artistic mission of the mendicant orders

Martin Edelweiss’s Quest for Glory, Guided by Prospero and Other Wizards

Nabokov’s novel Glory (Podvig, 1932) was often viewed as a “regression” to traditional novel writing and, therefore, perceived as untypical for the innovative modernist Nabokov (Sirin). More recently there have been critical voices reading the novel as marked by Silver Age aesthetics, not least for its fantasy and fairytale elements and its inclusion of subtexts such as Shakespeare’s The Tempest. My article argues the later approach, specifically examining in detail the allusions to Shakespeare’s play as a vital key to a new interpretation. In my reading, Martin Edelweiss, the novel’s dreamy protagonist is an Ariel figure and his earthbound opposite and friend and rival Darwin, a Caliban figure. It examines the question whether there are no other ways to cross forbidden borders than physically traversing them and that the “wizard” who created both Martin-Ariel and Darwin-Caliban used them as symbolic figures and pointers to his own artistic mission which – in the tradition of the “shipwreck survivor” Arion – is to accept survival as a means to salvage Russian literary culture in spite of the Soviet-Zoorlandian threat to it, but also émigré resistance to “cosmopolitan” innovation and accusations of having “betrayed” true Russian values.

The Coat of Arms in Fra Filippo Lippi’s Portrait of a Woman with a Man at a Casement

The Coat of Arms in Fra Filippo Lippi’s <i>Portrait of a Woman with a Man at a Casement</i>

Costantino Continuato. Ideologia e iconografia del carisma imperiale bizantino agli albori dell’ età moderna

In the second half of the 16th century, after the definitive Turkish conquest of Constantinople, the titulus of Constantine came to be perceived in a fundamentally new way within the design to reaffirm papal authority, culminating in the pontificate of Aeneas Sylvius Piccolomini. Diplomatic wrangling and the strategic plan to save Byzantium in the West in the two decades after the fall of Constantinople had and would have had the precise aim of reinstating the hereditary title of the Byzantine Caesars, transferred to the East by Constantine and never extinguished, within the orbit of papal influence. The seat of Peter and the sceptre of Eastern Christianity should have been symbolically reunited in the ?New Byzantium,? which would have had its base at Rome and its bridgehead at Mystras. The project failed also because its main supporters died one after the other within a short period of time. But during the decades when it was pursued, we witness a true revival of the figure of Constantine and an accentuation of the symbolic primacy and legal significance of his title in the deliberations and political actions of humanist intellectuals, and their reflection in the artistic commissions of the period.

‘Peculiar circumstances of the land’: Artists and Models in Nineteenth‐Century Brazilian Slave Society

The essay situates the members of the French Artistic Mission of 1816 and their successors within the visual economy of nineteenth-century Brazil. It follows the adaptations of academic artists and their students to the aesthetics and labour market conditions of the largest and most enduring slave society of the Americas. The evolution of a pedagogical aesthetic of the human body, via instruction from the modelo vivo (artist’s model), and the associated labour relations of life modelling in the context of widespread slaveholding are the two primary concerns. The research considers the career of the artist’s model in the Imperial Academy of Fine Arts (AIBA), from the ad hoc recruitment of seemingly suitable individuals to the subsequent formalization and casualization of life model employment that accompanied the long arc of the last four decades of the transatlantic slave trade, gradual abolitionism, the expansion of free-wage labour, and the early consolidation of a post-emancipation, republican order.

The Brotherhood of Saint Leonard and Saint Francis: Banners, Sacred Topography and Confraternal Identity in Assisi

This article examines the documents and images of the confraternity of Saints Leonard and Francis at Assisi from the fourteenth to the sixteenth century. It argues that site dedications and local devotion played a critical role in establishing the group’s identity, first fashioned in its fourteenth-century banner. While always viewed in relation to the cult of Francis, it is suggested that devotion to Leonard is crucial to understanding the banner’s imagery. A new reading of the work is proposed which shows that despite demographic and devotional changes in the fifteenth and sixteenth centuries, the confraternity’s early identity persisted in its later artistic commissions on account of the sustained use of its early banner. Reprinted by permission of the publisher.

Arts Marketing Performance: An Artistic-Mission-Led Approach to Evaluation

Marketing in the arts sector has evolved during the past decades from a functional tool to a business philosophy. At the same time, a relational view of art as experience has emerged in contemporary arts philosophy, highlighting the role of arts consumers in the creation and reception of arts. As a consequence, arts consumers have gained a central position within the artistic mission of arts organizations, posing new challenges to the role of arts marketing both as a practice and as an academic discipline. Against this background, financial figures and audience numbers are insufficient indicators of the contribution that arts marketing makes to the functioning of arts organizations. This article suggests evaluating the performance of arts marketing based on the contribution made to the achievement of the arts organization's artistic mission and proposes a model based on Kaplan and Norton's Balanced Scorecard to guide the artistic-mission-led evaluation of arts marketing performance. By paying attention to the new strategic role of arts marketing within the emerging relational view of the arts and by integrating recent literature on performance management in nonprofit organizations, we make a theoretical contribution to the body of knowledge on arts marketing performance evaluation.

Art and Identity in Early Modern Rome (review)

Reviewed by: Art and Identity in Early Modern Rome John Pinto Art and Identity in Early Modern Rome. Edited by Jill Burke and Michael Bury. (Burlington, VT: Ashgate Publishing. 2008. Pp. xviii, 289. $114.95. ISBN 978-0-754-65690-6.) The twelve essays gathered in Art and Identity in Early Modern Rome contribute to our understanding of the unique social and conceptual structures within which artists and patrons operated over the course of two centuries, between 1450 and 1650. Since the publication of Francis Haskell’s classic Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque (London, 1963), the study of artistic patronage in Rome has been greatly enriched by scholars who have explored the social dimension of art, viewing it as a revealing index of familial, institutional, political, and spiritual identity. Although the twelve contributing authors understandably do not speak with the same voice, their essays effectively reinforce one another and add up to much more than the sum of their parts. This is due, in no small part, to the disciplined hands of the editors and the opportunity for all of the authors to discuss their research in a 2005 workshop at the British School at Rome. The essays are organized into four thematic groups, the first of which examines the mechanics of patronage. Irene Fosi considers the changing status—juridical and social—of foreign residents in Rome and the implications for artistic patronage. Piers Baker Bates explores the revealing case of Girolamo Bencucci da Schio, a bishop who rose from humble origins in the Veneto to negotiate a position of prominence in Rome, where he supported Sebastiano del Piombo. Guido Guerzoni’s essay, which focuses on the Este cardinals in the sixteenth century, illuminates how artists were recruited and [End Page 541] compensated. His research reveals a preference for employing artists for specific commissions rather than according them salaried positions. The second group of essays considers cardinals and their worldly goods, illuminating the complex relationship between the material world and Christian devotion. Mary Hollingsworth reconstructs the responsibilities of Ippolito d’Este, cardinal protector of France, in 1560. Clare Robertson, in one of the most stimulating essays, offers an instructive comparison between the patronage of a cardinal from a well-established family (Odoardo Farnese) and that of a relative parvenu (Pietro Aldobrandini), illustrating how different the patronage strategies and aesthetic judgments of two princely cardinals could be. Equally valuable is Karin Wolfe’s contribution, which focuses on Cardinal Antonio Barberini’s use of the arts for political ends. As cardinal protector of France, he went so far as to give his support to an iconographic program for the French national Church in Rome that directly challenged the authority of the papacy. The third group of essays explores the dynamics of family identity in papal Rome. For papal families, status was ephemeral; for the native nobility, the dominance of Roman society by foreign clerics posed distinct challenges. Christina Strunck’s incisive essay shows how the oldest and most illustrious of Roman families, the Colonna, consciously employed artistic commissions to combat the loss of power that occurred in the transition from the Barberini to the Pamphilj pontificates. Susan Russell argues that Pope Innocent X elevated the genre of landscape painting as part of a distinctive artistic policy. Lisa Beaven examines Camillo Massimo’s role as art agent of the Altieri, revealing how he used his artistic expertise and connections to construct a cultural identity for the papal family. The last group of essays explores the relationship between individual and institution, with an emphasis on how the popes employed the visual arts to construct different kinds of lineage. Carol Richardson’s essay on fifteenth-century papal tombs in St. Peter’s makes the apt observation that their placement against the sagging south wall of the Constantinian basilica showed them to be buttressing the fabric of the church. Opher Mansour’s investigation of papal state portraiture reveals changing attitudes toward the representation of the temporal and spiritual powers vested in the person of the pope. Maarten Delbeke’s essay shows how Pope Urban VIII used painted galleries to situate the time...

“The Courage to See It”: Toward an Understanding of Glory

Wherever you turn your eyes world can shine like transfiguration. You don't have to bring a thing to it except a little willingness to see. Only, who could have courage to see it? --Marilynne Robinson (Gilead 245) And since glory of [God's] power and wisdom shine more brightly above, heaven is often called his palace [Ps. 11:4]. Yet ... wherever you cast your eyes, there is no spot in universe wherein you cannot discern at least some sparks of his glory. You cannot in one glance survey this most vast and beautiful system of universe, in its wide expanse, without being completely overwhelmed by boundless force of its brightness.... Certainly however much glory of God shines forth, scarcely one man in a hundred is a true spectator of it. --John Calvin (Institutes of Christian Religion 52, 61) If one generalization might be made about Marilynne Robinson's body of work, both fiction and nonfiction (risky and presumptuous as I realize such a gesture to be), it is that her writing urges us again and again to pay attention to what she calls in her first novel, Housekeeping, resurrection of ordinary (18). As anyone with even a passing familiarity with Robinson's work knows, her project is deeply embedded in a rich Christian theology--one that considers fragments of quotidian (64) (another winsome phrase from Housekeeping) integral to any conception of holy. Significantly, Robinson's theology is explicitly and insistently Calvinist; in interview after interview, in her essays and speeches, she invokes John Calvin as central to her artistic mission. As she explained in a June 2009 interview with Andrew Brown of Britain's Guardian newspaper, One of things that has really struck me, reading Calvin, is what a strong sense he has that aesthetic is of divine. If someone in some sense lives a life that we can perceive as beautiful in its own way, that is something that suggests grace, even if by a strict moral standard ... they might seem to fail. (Robinson, Comment Is Free) If Robinson's goal is to explore this signature of divine, then, her essay on Psalm Eight articulates what I believe might be taken as a sort of credo. She writes: I have spent my life watching, not to see beyond world, merely to see, great mystery, what is plainly before my eyes. I think concept of transcendence is based on a misreading of creation. With all respect to heaven, scene of miracle is here, among us. (The Death of Adam 243) Thus, although Psalm 8 opens with majestic declaration of God's heavenly splendor: (O LORD, our Lord, how excellent is thy name in all earth! who hast set thy glory above heavens) (1), importantly, Psalm is not merely one of praise, but one that examines in verses three through five how an exalted view of God affects humanity's view of itself: 3 When I consider thy heavens, work of thy fingers, moon and stars, which thou hast ordained; 4 What is man, that thou art mindful of him? and son of man, that thou visitest him? 5 For thou hast made him a little lower than angels, and hast crowned him with glory and honour. Here, what Robinson calls the strategy of Psalmist ... to close infinite distance between God and humankind (Adam 240) has profound consequences, as she articulated while on a panel with Robert Alter at New York's 92nd Street Y: One of things that is so striking to me about Bible, literature of Bible altogether, is that it has named human writers. And they are human: you know, Psalms despair and prophets lament and all that sort of thing. They feel weakness--and you feel burden of their humanity in something that is, nevertheless, received as being a sacred testimony. It seems to me that that's one of poignant and powerful things about Scripture: that it situates testimony of sacred in fallible human voices--which are only extraordinary, only more beautiful, because you sense frailty. …

Ruling Peacefully: Cardinal Ercole Gonzaga and Patrician Reform in Sixteenth-Century Italy (review)

Reviewed by: Ruling Peacefully: Cardinal Ercole Gonzaga and Patrician Reform in Sixteenth-Century Italy William V. Hudon Ruling Peacefully: Cardinal Ercole Gonzaga and Patrician Reform in Sixteenth-Century Italy. By Paul V. Murphy. (Washington, DC: The Catholic University of America Press. 2007. Pp. xxi, 290. $79.95. ISBN 978-0-813-21478-8). Those—like me—who have read and enjoyed Paul V. Murphy's essays in the Sixteenth Century Journal, in several edited volumes, and in this journal now have just what they hoped for: Murphy's thorough analysis covering the whole life of Cardinal Ercole Gonzaga (1505–63). He has made a first-class contribution to the history of sixteenth-century Italy. In six chapters here, Murphy traces the background and career of Gonzaga, placing both fully in context. A handsome, powerful Renaissance patrician, Gonzaga was fluent in the humanist culture prized by his social class. After studies in Bologna, entry into the circle of Reginald Pole, plus further studies in Mantua and Venice, he became the episcopal administrator of Mantua in 1521 and cardinal at the age of 22. He built an enormous library of humanist works, including texts on theology, patristics, canon law, and apologetics, the latter in both Protestant and Catholic voices. Murphy described him as a lifelong learner, for in addition to this book collecting—and presumably, reading—the prelate regularly sought out tutors. Present at the beginnings of what Hubert Jedin and others called "Catholic Reform," Gonzaga worked inconsistently to actualize diocesan reform. One reality that spurred such inconsistency in him and in others like him was personal pursuit of thoroughly unreformed behavior. Since he amassed an awesome portfolio of benefices delivering some 35,000 ducats annually, Gonzaga's reacting badly to nepotism under Paul III was rather like the pot calling the kettle black. Still, his modest reform initiatives in Mantua between 1533 and 1561 gained the good will of [End Page 826] prelates such as Gasparo Contarini and Gian Pietro Carafa. Gonzaga focused his diocesan reform on monastic life and on the improvement of local clergy, and he turned out to be fully capable of showing both severity and pragmatism in handling the failings of his human charges. When considering Gonzaga's connection with the contemporary so-called spirituali, Murphy finds it difficult to pin his subject down. Gonzaga exhibited the theological and religious influence of the group, but not consistently. He disapproved open preaching of Protestant doctrine on grace, but he was slow to discipline those who did. It was in artistic commissions and in work as a regent—beginning in 1540 for Francesco, the seven-year-old son of Federico of Mantua—that Gonzaga's patrician credentials were most apparent. There, Murphy explains, he understood his role perfectly: to maintain the status of his family as a clan of great lords. In his final years, Gonzaga served with Girolamo Seripando as legate to the Council of Trent. Murphy challenges the view of Jedin, arguing that the legates were not the source of problems encountered in the last phase of the council, but skillful diplomats facing an impossible balancing act. For Murphy, here at Trent the patrician and the reformer came together. Gonzaga sought, for instance, a limit on papal authority over the Council without any reduction in divinely instituted papal power. He and Seripando tried, Murphy insists, to preserve conciliar confidence in papal commitment to comprehensive reform. If all this sounds a little familiar, there is good reason. Intrepid scholars such as Giuseppe Alberigo, Eric Cochrane, Paul Grendler, and Adriano Prosperi began dramatic reconsideration of characters like Gonzaga long ago. Quite an edifice has been built upon their foundations by the rest of us fellow travelers, including Murphy. His work is another substantial brick in the wall. Prelates like Gonzaga worked amid competing commitments. The interrelationships they established were varied, multifaceted, and rather fluid. The positions they took and tactics they used were anything but uniform. Individual lives, groups of friends, political entities, and long-lasting institutions filled with contradictions defying customary historical models are the stuff of revision. A powerful, persuasive contribution to necessary revision lies here. William V. Hudon Bloomsburg University Copyright © 2008 The Catholic University of...

Milton re‐membered, graved and press'd: William Blake and the fate of textual bodies

This essay explores William Blake's complex textual and spiritual rendering of John Milton in his illuminated book, Milton a Poem. Responding to authorial anxieties within John Milton's own poetry and prose works, Milton reveals within its allegorical structure a purposeful conflation of corporeal, technological, agricultural and religious lexicons. The work reflects the material means of its own production while simultaneously revealing much about how Blake conceived his own radicalized visionary and artistic mission. Emphasizing the material, Christological and symbolic dimensions of Blake's linguistic play, the essay thus examines the relationship between these vocabularies – more specifically between the world of the print shop and the author's vision within the poem. In doing so my reading of the work highlights the political dangers associated with resurrecting the Miltonic corpus in an era when Milton's republican legacy sat uneasily alongside his literary achievements. By materializing Milton's body as print, Blake's work textually (re‐) inscribes this politically volatile figure to advance a notion of radical authorship that defies corporeal limitations.

Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine. By Timothy Snyder. New Haven, CT: Yale University Press, 2005. Pp. xxiii+347. $35.00.

Previous articleNext article No AccessBook ReviewsSketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine. By Timothy Snyder. New Haven, CT: Yale University Press, 2005. Pp. xxiii+347. $35.00.Katherine R. JolluckKatherine R. JolluckStanford University Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Journal of Modern History Volume 80, Number 2June 2008 Article DOIhttps://doi.org/10.1086/591592 Views: 17Total views on this site © 2008 by The University of Chicago. All rights reserved.PDF download Crossref reports no articles citing this article.

Josefina Niggli, Mexican American writer: a critical biography

This is the story of a remarkable woman whose artistic mission was to relate Mexican cultural history to English-language readers. A world-renowned playwright in the 1930s and best-selling novelist in the 1940s, Josefina Niggli published at a time when Chicana/o literature was not yet recognized as such. Her works revealed Mexico from an insider's point of view, although she found herself struggling with publishers who wanted an American hero pitted against a Mexican villain. Niggli's life experience transpired in Mexico, Texas, the East Coast in the pre-World War II years, and North Carolina, with jaunts to Hollywood and to England, all in an era when few U.S. women writers were able to publish. Only recently has Niggli received critical attention as scholars of Chicana/o literature recognize her as one of the earliest Mexican American writers to focus on life lived between two cultures and nations. This scholarly biography, which includes selections from some of Niggli's unrecognized writings, is designed to solidify her place in the literary canon.

Give and take: Henri Gaudier-Brzeska's Coffer for Wilfrid Scawen Blunt and Ezra Pound's homosocial modernism in 1914

sustained attempt to cast Henri Gaudier-Brzeska (1891–1915) as a prodigy of modernist sculpture.1 Ezra Pound’s mythologizing memoir of him took the lead and characterized Gaudier as the prototypical bohemian artist whose defining trait was a fierce and uncompromising individuality.2 Because Gaudier’s death in the trenches ended his short career, the fascination with his maverick reputation has been based primarily on the accounts of his life and on a select group of works within his oeuvre. Gaudier also created a number of awkward decorative and functional objects that have proved more difficult to bring into accord with the artist’s reputation.3 The Coffer for Wilfrid Scawen Blunt (figs. 1–3) is a prime example of such an overlooked work and has rarely been considered worthy of sustained attention. This small marble casket – along with many of Gaudier’s other ‘decorative’ works – is frequently passed over in preference for his statuary, despite its importance as a commission from Ezra Pound. For instance, Roger Cole dismissed the Blunt Coffer ‘as a commercial piece of work which adds little to our understanding of the artist’.4 It is, I will argue, precisely its vexed status as a ‘commercial piece’ that makes it significant. An examination of this object and its place in the formulation of a modernist subculture in Britain sheds light on those traits of Gaudier’s artistic persona that, like this object, do not easily fit – namely, his irreverent and sexualized mockery of his own status as a producer of objects for others. Central to this question will be Pound, who was both patron and friend to Gaudier. In the commercial exchange of the artistic commission, Gaudier introduced in-jokes that both bound together and made fun of the players in that transaction. The Blunt Coffer resulted from a hurried commission given to Gaudier by Pound in 1914. The box was presented as a gift to the poet Wilfrid Scawen Blunt (1840–1922) on the occasion of what became known as the ‘Peacock Dinner’ on 18 January 1914. In the years before World War I, Pound worked energetically to establish modernism in Britain and encouraged the development of an avantgarde subculture in London. Though still in the early stages of his own career, he acted as impresario for the new movement and sought ways to increase its momentum on multiple fronts. The ‘Peacock Dinner’ was one attempt to solidify the notion of the new generation.5 Gathering together a group of eight poets, including W. B. Yeats, F. S. Flint and Richard Aldington, Pound, with the encouragement of Blunt’s former lover Lady Gregory, organized a lavish luncheon Give and take: Henri GaudierBrzeska’s Coffer for Wilfrid Scawen Blunt and Ezra Pound’s homosocial modernism in 1914 David J. Getsy

Timothy Snyder, Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine

July 01 2007 Timothy Snyder, Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine Alexander Statiev Alexander Statiev Search for other works by this author on: This Site Google Scholar Author and Article Information Alexander Statiev Online Issn: 1531-3298 Print Issn: 1520-3972 © 2007 Massachusetts Institute of Technology2007 Journal of Cold War Studies (2007) 9 (3): 165–168. https://doi.org/10.1162/jcws.2007.9.3.165 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Alexander Statiev; Timothy Snyder, Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine. Journal of Cold War Studies 2007; 9 (3): 165–168. doi: https://doi.org/10.1162/jcws.2007.9.3.165 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsJournal of Cold War Studies Search Advanced Search This content is only available as a PDF. © 2007 Massachusetts Institute of Technology2007 Article PDF first page preview Close Modal You do not currently have access to this content.

Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine. By Timothy Snyder. New Haven: Yale University Press, 2005. xxiii, 347 pp. Notes. Index. Illustrations. Photographs. Maps. $35.00, hard bound.

Sketches from a Secret War: A Polish Artist's Mission to Liberate Soviet Ukraine. By Timothy Snyder. New Haven: Yale University Press, 2005. xxiii, 347 pp. Notes. Index. Illustrations. Photographs. Maps. $35.00, hard bound. - Volume 66 Issue 1

Correspondências entre Joachim Le Breton e a corte portuguesa na Europa: o nascimento da Missão Artística de 1816

Uma série de documentos conservados no Arquivo Nacional da Torre do Tombo, em Lisboa, oferece-nos ainda instrumentos significativos para a compreensão da origem da Missão Artística de 1816. Embora alguns historiadores brasileiros tenham já explorado intensamente este campo, dentre os quais as preciosas publicações de Afonso d'Escragnolle Taunay, Mário Barata e Mário Pedrosa - destacando-se também os escritos deJean-Baptiste Debret -, convém buscar novas luzes para entender a concepção do projeto de ensino artístico e industrial, ainda na Europa, pelas mãos de Joachim Le Breton. Como surgiu o projeto da Missão? Este artigo tem como objetivo a análise de algumas correspondências conservadas na Torre do Tombo, trocadas entre Le Breton e os diplomatas portugueses em 1815, ainda em Paris, visando à recuperação dos primeiros passos desta história.

:Imago Triumphalis: The Function and Significance of Triumphal Imagery for Italian Renaissance Rulers

Iago Triumphalis: The Function and Significance of Triumphal Imagery for Renaissance Rulers examines how independent rulers in fifteenth-century Italy used the motif of the Roman triumph for self-aggrandizement and personal expression. Triumphal imagery, replete with connotations of victory and splendor, was recognized during the Renaissance as a reflection of the glory of classical antiquity. Its appeal as a powerful visual bearer of meaning is evidenced by its appearance as a dominant theme in literature, architecture, and art. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d'Este chose to incorporate the triumphal motif in major artistic commissions in which they were represented. They recognized that the image of the triumph could retain its classical associations while functioning as a highly personalized commentary.

A representação da realeza no Brasil: uma análise dos retratos de D. João VI e D. Pedro I, de Jean-Baptiste Debret

Jean-Baptiste Debret, pintor de história e integrante da Missão Artística Francesa de 1816, em seu álbum iconográfico Viagem pitoresca e histórica ao Brasil, realizou ilustrações referentes aos usos e costumes brasileiros. Uma parte de sua obra foi dedicada à vida de corte no Rio de Janeiro. Pretendemos, neste artigo, analisar a concepção do Retrato de D. João VI e do Retrato de D. Pedro I, imagens oficiais da realeza no Brasil, produzidas pelo artista francês. Há, em Debret, uma clara contraposição entre os retratos do pai D. João e do filho Pedro, oferecendo-nos chaves interpretativas para os momentos políticos em questão. Pretendemos analisar e contrapor as imagens, no sentido de sua descrição física, da presença diferencial dos atributos e de sua representação política, evidenciando as mudanças iconográficas entre os retratos e destacando a importância dos modelos europeu e americano nas composições.

Confessional Aspects of the Art Patronage of the Bishops of Olomouc in the Period before the White Mountain Battle

Summary The article deals with art patronage of the bishops of Olomouc around 1600 and concentrates on meaning and functional aspects of bishops' artistic commissions. As the most important exponents of Catholicism the bishops tried to strengthen Catholic confession and religious life in the diocese and their artistic patronage played, besides another concrete political activities, a truly important role in the politics of confessionalization of the Catholic elite in Early Modern Bohemia and Moravia. Their artistic commissions (not only architecture, painting and sculpture, but also prints, books, pieces of music, art and crafts etc.) served as means of religious propaganda and polemic.