Iconographic References Research Articles

The sculptures of David and Abigail in the apse of Casa Professa in Palermo: a dialogue between Grano, Tancredi, Calandrucci, Vitagliano and Serpotta

The paper explores the ideational process behind the decoration of the apse of the Chiesa del Gesù in Palermo. In particular, the article focuses on the sculptures in the left niche depicting the biblical episode of David and Abigail. These were made, based on clay sketches by Giacomo Serpotta, between 1706 and 1709 by Gioacchino Vitagliano. Several iconographic references to coeval artists such as the painters Filippo Tancredi or Giacinto Calandrucci are thus proposed. Indeed, some of their works show close affinities with the sculptural group in this church. An attempt is therefore made to trace the formal genesis of the work, placing these iconographic and figurative cues within a dialectic in which the protagonists, in addition to the mentioned artists, include the palermitan painter Antonino Grano. He was responsible for the design of the apse from 1703 onwards. The article is the result of in-depth research work carried out for the author's master's thesis at the University of Palermo

‘Girls and corpses’: the ‘tattoo-titted freakdom’ of Bonnie Rotten

ABSTRACT Bonnie Rotten's onscreen persona drew equally on punk-inspired and horror iconographies; a conjunctural aesthetic epitomised in the ornate spider-web pattern tattoos that adorn her breasts. Other designs homage cult horror films, as seen in—the zombie design from Night of the Living Dead (1968) on her stomach, as well as iconographic references to classic slasher flicks such as A Nightmare on Elm Street (1984) and Friday the 13th (1980). In this article I examine how Rotten's branding as a ‘punk model' signifies her ‘rebellion’- vis-a– -vis corporeal embodiments of the grotesque, carnivalesque, and the abject – in an articulation and reframing which has become familiar within contemporary pornographic production.

The Oxford Handbook of Heracles ed. by Daniel Ogden

Reviewed by: The Oxford Handbook of Heracles ed. by Daniel Ogden Thomas J. Sienkewicz The Oxford Handbook of Heracles. Edited by Daniel Ogden. Oxford Handbooks, New York: Oxford University Press, 2021. Pp. xxxi + 571. Hardback, $150.00. ISBN: 978-0-19-065098-8. The Oxford Handbook of Heracles (henceforth Heracles) is a significant addition to Oxford’s invaluable series of handbooks. Heracles is the first of the more than forty Oxford handbooks on Classical topics to focus not only on a mythological subject but also on a single mythological figure. Other handbooks have focused on single authors like Hesiod or Thucydides or on topical subjects like warfare and sports. The scale of Heracles’ importance in antiquity more than justifies the existence of this handbook, which is the first wide-scale treatment of the hero in English. The 39 contributors to this volume have undertaken a truly herculean task, namely, to survey the ancient literary and iconographic references to Heracles and to examine the hero’s treatment in various ancient genres and media and from a number of thematic perspectives. The result is a handbook which promises to become a standard resource for anyone interested in Heracles, from the novice undergraduate to the advanced scholar. In his introduction, editor Daniel Ogden explains the need for, and structure of, this handbook, provides an overview of previous scholarship on Heracles and also offers three valuable chronological lists related to the hero’s labors: 1) ancient literary and iconographic references in the archaic and classical periods to various sets of labors (not necessarily twelve in number); 2) examples from the Hellenistic and Roman periods illustrating a more canonical list of twelve labors; and 3) a table which outlines the earliest references to each of the twelve labors and their geographic distribution, while emphasizing the Peloponnesian primacy of the labors. [End Page 113] The handbook proper has 38 essays written by an impressive group of international scholars. These essays are grouped in five parts, with each essay accompanied by an extensive bibliography. Part I, entitled “Before the Labors,” offers two essays dealing with the hero’s birth, childhood and his madness. There are twelve essays in Part II, one on each of the canonical labors. The hero’s parerga or side-labors are the subject of Part III, with seven essays on the following topics: brigands and cruel kings like Saurus, Cacus, Antaeus and Busiris; Heracles’ role in the Argonautic Expedition; the hero’s dealings with Troy (Laomedon, Hesione and the sea-monster); Auge and Telephus; the Gigantomachy; Oechalia, Delphi and Omphale; and Deianira, the hero’s death and his apotheosis. In Part IV the hero’s appearances in ancient epic, tragedy, comedy, the philosophical tradition and classical art are discussed in individual essays. More than one-third of Heracles is devoted to the twelve essays in Part V, entitled “Themes.” Here Heracles is discussed, in succession, as: quest hero; triangulated with Hera and Athena; rationalized and allegorized; master of geographic space; ancestor; connected with Macedonia and Alexander the Great; Greek cult figure; parallel to the Phoenician deity Melqart; Roman cult figure; tied with Caesar and the Roman Emperors; and referenced in early Christian literature and art. All these themes, it should be emphasized, deal with the hero’s appearance and interpretation in antiquity. Discussion of Heracles in terms of various modern theories of myth is not within the defined scope of this handbook. The final essay in Part V is a sweeping survey of Heracles’ reception from the end of antiquity to the 21st century. The wide range of topics covered in Heracles illustrates the many roles played by this hero, the diverse ways his myth was interpreted and used and his prominence across the entire Greco-Roman world throughout antiquity and beyond. While Heracles generally focuses on both the literary and the iconographic representations of the hero, the essays are accompanied by only 46 black-and-white figures. Most of the iconographic material is referenced via the Lexicon Iconographicum Mythologiae Classicae (Kahil, L. et al., eds. 1981–1999, Zurich and Munich: Artemis; henceforth LIMC). Although the standard scholarly reference for mythological iconography, the print version of the LIMC is...

Botanical Gardens in the city of São Paulo at the beginning of the 20th century

At the beginning of the 20th century, the city of São Paulo had three Hortos: the "Horto de São Paulo", better known as Horto da Cantareira, created in 1896 by Alberto Löfgren; the Horto do Museu Paulista, which was first planted in 1898 by the Museum's director, Hermann von Ihering; and the Horto Oswaldo Cruz, created in 1917 by the botanist Frederico Carlos Hoehne. All of them no longer exist with their original functions, but they preserve, in their spaces, some built and plant elements that are testimonies of the creation of these places. In this context, this article aims to make a brief history of these gardens, their insertions in maps of the time, the investigation of the fate they had and some components that preserve their memory today. Methodologically, the research used textual, cartographic and iconographic references present in primary documents, articles, theses and dissertations, as well as in the sites that house these places, in order to assess the objectives to be achieved. Through the material collected, it was possible to visualize and understand the locations of the mentioned gardens, their current uses and remaining elements.

Una macabra fábula fantástica. Macario (Roberto Gavaldón, 1960) a partir de “El tercer invitado” (1950) de Bruno Traven

Este trabajo hace un análisis comparativo entre el cuento “El tercer invitado” (1950) de B. Traven y su adaptación cinematográfica Macario (1959) dirigida por Roberto Gavaldón. El artículo contextualiza la novela corta del autor alemán respecto al relato de los Grimm, la enigmática figura del escritor, su particular relación con el mundo del cine y las diferentes adaptaciones cinematográficas de su obra literaria. Se hace un estudio de la producción de la película y el trasvase del relato a la pantalla en el que se analiza la adaptación del texto a partir de los planteamientos coincidentes y divergentes. Finalmente, se relaciona la adaptación con los referentes temáticos e iconográficos y los nexos e influencias sobre los que se elabora la película.

Flora marina bentonica del Mediterraneo: Rhodophyta - Rhodymeniophycidae I. Acrosymphytales, Bonnemaisoniales, Gelidiales, Gigartinales, Gracilariales

Dopo una breve introduzione sulla consistenza numerica delle Rhodymeniophycidae (Rhodophyta) presenti in Mediterraneo (Mar Nero escluso), sugli "steps" programmati per la loro completa trattazione con la precisazione che questa prima parte riguarda i taxa dei 5 Ordini già elencati nel titolo e la presentazione di una tabella delle Rhodophyta nella quale i taxa superiori alle famiglie sono ordinati secondo un criterio filogenetico, si passa alla trattazione dei taxa seguendo l'ordine strettamente alfabetico. A seguito degli aggiornamenti tassonomico-nomenclaturali, i taxa a livello specifico ed infraspecifico ricadenti negli ordini sopra citati e presenti in Mediterraneo, sono risultati 132 (di cui 28 inquirenda). Questi a loro volta si raggruppano in 50 generi e 25 famiglie. Inoltre 46 taxa, di cui 1 a livello di famiglia e 45 a livello specifico ed infraspecifico sono stati considerati taxa excludenda; 31 taxa, a livello specifico e infraspecifico, sono stati considerati taxa inquirenda, di questi 3 sono anche excludenda e uno dei tre ha nome illegittimo. Inoltre viene evidenziata l'illegittimità dei nomi di 47 taxa (di cui 3 a livello di famiglia, 3 a livello di genere e 41 a livello specifico e infraspecifico), l'invalidità dei nomi di 29 taxa (di cui 1 a livello di genere e 28 a livello specifico ed infraspecifico) e l'invalidità di 9 combinazioni; infine, viene proposta 1 nuova combinazione. Di ciascun taxon trattato viene fornita una breve descrizione preceduta da alcuni riferimenti bibliografici riportanti notizie, illustrazioni e/o distribuzione in Mediterraneo; per la maggior parte dei taxa specifici sono state realizzate delle illustrazioni. Quasi tutti i taxa trattati sono arricchiti di note bilingue (Italiano e Inglese) a supporto delle sinonimie indicate, o delle scelte tassonomiche seguite o delle motivazioni per cui il taxon è stato considerato inquirendum e/o excludendum o delle conclusioni nomenclaturali. Il lavoro è completato da un glossario di 158 voci, da un indice di tutti i nomi dei taxa citati nel testo e da una errata corrige al lavoro di Cormaci et al. (2017).

Dis-locating the Tale. Roberto Innocenti, Little Red Riding Hood and the Contemporary “

Roberto Innocenti’s illustrations have been qualified as “ contemporary paintings ” by Marco Magnani, inasmuch as they reconcile modernity and tradition, classical systems and new approaches to representation. This article focuses on Innocenti’s visual take on “ Little Red Riding Hood ” in The Girl in Red (2012), in order to highlight some of its iconographic references, as well as their social and philosophical implications. Innocenti indeed sheds light on the living and housing systems of our times, characterised by indifference, isolation and lack of communication according to anthropologists Marc Augé and Franco La Cecla. In this respect, they evoke the photographic work on suburbia done by the great photographer Gabriele Basilico1.

La cultura visual en los sermones de San Vicente Ferrer y en los escenarios de su predicación

En el estudio se analizan los sermones de san Vicente Ferrer desde la perspectiva de la historia del arte. Por un lado, los escenarios donde predicó y su adecuación espacial e iconográfica; por otro, rastreando en los sermones las alusiones a las técnicas arquitectónicas y artísticas y las referencias estéticas e iconográficas que contienen.

Ancient Biographies: Trace Element Analysis to Investigate Provenance and Transportation Mechanisms of Late Bronze Age Glass

LA-ICPMS analysis was carried out on a scaraboid blue glass bead (Hunterian Museum Glasgow, D.1921.39) excavated from Tomb 27 in Gurob, in the Southern Fayum region of Egypt. Gurob is known to have been the site of a palace established in the reign of Tuthmosis III (1479-1425 BC). The tomb was located at the northernmost point of the New Kingdom cemetery and was undisturbed, containing the remains of seven females and two children, and was dated by the excavators to between the reigns of Amenophis I (1525-1504 BC) and Tuthmosis III. The glass scarab was coloured by copper and trace element values of La, Cr, Ti and Zr exhibited compositional consistency with glasses from Mesopotamia, rather than from Egypt. Therefore, the glass scarab represents a rare example of Mesopotamian glass to be discovered in Egypt, in addition to being some of the earliest glass found. The finds support iconographic references in the Hall of the Annals at Karnak to the import of early glass into Egypt. The implication is that these beads represent luxury items transported into Egypt by high-ranking foreign women perhaps in connection with the Gurob harem palace.

La recreación estética de una Grecia mágica. La Cólquide en la Medea de Pasolini

Toda pretensión de reconstrucción arqueológica está ausente de la filmación que realiza P.P. Pasolini de Medea. Las libertades creativas son mayores si cabe a la hora de recrear el mundo primitivo de la Cólquide, del que apenas existen referentes iconográficos en los que inspirarse. El resultado alcanza elevadas cotas de originalidad en el empleo de variados recursos estéticos que consiguen dar vida a ese paisaje mágico.

Middelnederlandse wandteksten en grafschriften op rijm

Middle Dutch rhymed wall texts and epitaphs What is left of non-book literature from the medieval Low Countries (before ca. 1500) mainly consists of two categories: funerary inscriptions on the one hand and texts which were conceived to be posted on a wall on the other. This is at least what remains if we - as has been opted for here - exclude non-book phenomena belonging to the private sphere, such as letters of personal interest (which may very well have stylistic qualities, but are not meant for a public literary scene) and text fragments appearing in iconographic references to literary works, in which the text is subservient to the image and secondary to the literary text itself. Extant wall texts, often quite damaged, come from different environments: mainly churches and town halls, but also manors and burgher houses. On the whole, they have a morally dictating purport, sometimes, but rarely, with overtones of social criticism. For obvious reasons, texts on tombstones belong to the devotional register. – inviting to remember and pray for the deceased, and to pay tribute to the memento mori warning. They appear in connection with, or are integrated into a life-size representation of the dead person, accompanied by his guardian angel, other angels or one of the deceased's next of kin. Apart from this combination of poetry and iconographic ornamentation, these tombstones are also analogous to contemporaneous illuminated manuscripts as to their geographical center and social background (cf. Oosterman 1995). Most of the known instances were commissioned by municipal dignitaries from Bruges.

La tortuga en Tabasco: comida, identidad y representación

Históricamente, la tortuga ha formado parte importante de la gastronomía tabasqueña. El reciente hallazgo del consumo de tortuga en un contexto prehispánico del periodo Clásico Terminal en la región de Tabasco nos ha encaminado a realizar la identificación taxonómica de las especies de tortuga que se consumían, además de estudiar las referencias iconográficas y fuentes históricas de la representación que los mayas han plasmado de este animal. La investigación concretó la existencia de un arraigado consumo que pensamos está vinculado directamente con la identidad de un grupo social dentro de un contexto cultural definido que persiste hoy en día, aún dentro de un periodo de crisis en el que la tortuga se ha convertido en un animal en peligro de extinción.

Vulnerable to Violence: Jeff Donaldson’s Ala Shango and the Erasure of Diasporic Difference

This article examines AfriCOBRA cofounder Jeff Donaldson’s painting Ala Shango (1969) in relation to the 1968 Chicago riots and the militaristic and Pan-Africanist rhetoric of the Black Nationalist movement. Specifically, I discuss the artist’s appropriation and incorporation of a double-headed axe of Shango, the Yoruba god of fire, lightning, and thunder. The axe, wielded by the composition’s central figure, shatters the pictorial plane of the canvas, which Donaldson variously labeled Glass, Sheet, and Made in USA. I argue that, through his appropriation of African art, as well as in his channeling and innovating upon iconographic references to the riot—namely, the initial shattering of glass that directly precedes looting—Donaldson articulates an abstracted blackness where black identity, internationally, is always vulnerable to violence and requires an armed response, regardless of geographic locale.

Extremadura representada de los medios de comunicación. Intertextualidad y estereotipos

The first half of the twentieth century is rich in iconographic manifestations in the mass media, a particular area, Extremadura, becomes iconographic object covers, magazines and documentaries. Three works are key to the expansion of iconographic references: Ruth M. Anderson, In the lands of Extremadura, Luis Buñuel The Hurd: Land Without Bread and Spanish Village: It lives at ancient poverty and faith, W. Eugene Smith. The objective set is to show intertextuality lines containing study images through visual representations.

Los referentes de Ferrer y Arnau Bassa en la pintura Italiana: hipótesis sobre sus viajes de formación

Ferrer Bassa’s journey to Italian territory for artistic training is an aspect of his biography that one finds most consolidated in literature dedicated to the painter, despite the lack of documentary references to such a trip. The review of some previously held hypotheses and the reconsideration of the artist’s possible passage through the Papal States, where some authors have attributed preserved work to the painter (Urbino, Mombaroccio), leads us to construct a new route, alternative to that describing his arrival in Genoa. The conflict between Catalans and the Genoese, in progress during the period in which the journey of Ferrer Bassa is most feasible, the third decade of the XIV century, does not support this route and inclines us to prefer a southern itinerary, with first stop in Naples. For the same reason, the painter must have returned via the same route, after having visited some of the main centers of Italian art of the Trecento. In the configuration of the trip made, we give priority to the stylistic formation of Ferrer Bassa, although the iconographic references may also be indicative. The case of Arnau Bassa is different from that of Ferrer, and although the consideration of a sojourn of Arnau in Avignon is very suggestive, to understand his work one can not ignore the context created by his father’s workshop.

ESTILOS DE ESCULTURA EM PEREGRINAÇÃO: MARCAS DE UM BRASIL AFRICANO OU DE UMA ÁFRICA BRASILEIRA EM OBJETOS DE COLEÇÃO

10.12957/tecap.2014.16240 By looking at ancient works of wood carving from Afro-Brazilian cults preserved in museums and other public collections, Marianno Carneiro da Cunha discerned stylistic-morphological elements of a “nago-yoruba” sculptural tradition in Brazil. Trying to contextualize, refresh and amplify this analytical perspective, we present a brief bibliographic discussion on the subject matter in the title and reexamine the problem by introducing other known pieces to the analytical corpus. We also profiled stylistic traits to demonstrate how some of these pieces may be part of an emblematic visual repertory of studies on the Negro in Brazil. From an original set of iconographic references, we suggest as conclusion a case study for the years 1880-1890, therefore promoting the discussion of reflux processes from Brazil to Africa in the field of artistic sculpture.

Diagnosis prospectiva sobre la diversidad de diatomeas epilíticas en la laguna Bacalar, Quintana Roo, México

Recently Bacalar lagoon, Quintana Roo has received much attention because of its high eco-touristic and scientific potential due to the presence of microbialites (thrombolites and stromatolites). Nonetheless, the surrounding tourist and agricultural activities represent potential pollution risks that deserve our concern. Opportune ecological monitoring represents an alternative for the adequate managing of these ecosystems. A reliable floristic basis of diatoms renders an effective reference for the detection of environmental contingencies. Thus an exploratory study of benthic diatom associations that live on the microbialites was undertaken. Sixty eight diatomtaxa were identified and floristic and iconographic references for most of these are provided. Eleven taxa are recorded for the first time in Mexican fresh-water bodies.The observed species richness suggests a high diversity. However, the frequency and abundance of widely distributed diatom taxa such as Denticula elegans, D. kuetzingii and Nitzschia amphibia could have hindered the appreciation of said diversity. The diatoms here recorded represent solely a non-living microbialithic substrate. It is thus necessary to widen the inventory to include taxa living in other substrata and in the cyanobacterial mats related to the microbialites.

Gathering Fruit at Ingleby. An Early Medieval Sculptural Fragment from Ingleby, Derbyshire

The carved stone fragment from Ingleby in Derbyshire has attracted little attention in the scholarly literature on medieval sculpture, largely because the question of its date has been considered particularly unclear. It thus raises interesting questions about dating, about the nature of the models lying behind the carving, and about its iconographic significances, the relevance of which extend far beyond Derbyshire. Here the piece is examined in the light of Anglo-Saxon art, and situated within the context of the later 9th and 10th century, but produced under the influence of artistic conventions dating back to the preceding century in the Insular world and Carolingian Gaul, which in turn look back to the art of late antiquity. The article argues for the influence of visual traditions in its illustration of agricultural tools rather than that of objects perhaps familiar in Anglo-Saxon England, and suggests that the unusual depiction of harvesting, which is perhaps only paralleled elsewhere in art from the South-West, is best considered in the light of the trees set in a rocky and watered landscape, also featured on the stone, and overall presents a set of eschatological iconographic references.

Comic Readings and Tragic Readings: Haydn’s observations on London audience responses in 1791

This paper explores the iconography of two prints owned by Haydn, the traditions to which they belonged and their aesthetic consequences. The prints depict two contrasting audiences, one amused and the other despondent, and feature a range of iconographic references that Haydn would have readily responded to, including such themes as the death of Dido, the world of Tristram Shandy, the madness of Orlando and Don Quixote, the humorous verse of Peter Pindar (one of Haydn’s librettists) and inevitably (in prints of this kind) contemporary English politics. A particular point of interest is a caricature of Edward Topham, an amateur caricaturist and founding editor of the influential newspaper The World , featured in one of the prints. In a series of issues in the late 1780s The World published a ‘correspondence’ with Haydn himself, which sought to undermine the composer’s suitability for composing with London audiences’ in mind. The print may have helped serve to remind Haydn of this dispute at the time he actually began composing in London and to aid him in keeping such audiences in mind when composing for them.

The Medieval Masons' Lodge as Paradigm in Peter Behrens's Dombauhütte in Munich, 1922

Peter Behrens's enigmatic Dombauhütte at the 1922 German Exhibition of Applied Arts has received little scholarly attention. A small masonry pavilion revealing heavily sublimated iconographic references, it embodies aspirations for cultural renewal that have attended the motif of the medieval masons' lodge since Romanticism: the deep metabolism of religious life is imported into aesthetics as a Gesamtkunstwerk. In the absence of built and photographic resources, recourse is made for the first time to folios of Behrens's drawings. These make possible a complete rendering of the building, which uncovers the underlying geometric order governing the plan, elevation, and disposition of artifacts.