Stylistic Influence Research Articles

Dos pinturas de Denis Calvaert identificadas en los fondos del Museo del Prado

Based on stylistic considerations, this study attributes two unpublished paintings in the Prado Museum to Denis Calvaert. This Flemish artist is not well known in Spain due to the scarcity of his works and because of a strong Italian stylistic influence, which has contributed to the incorrect attribution of his paintings.

Weiland; or, The Transformation, An American Tale, With Related Texts (review)

Reviewed by: Weiland; or, The Transformation, An American Tale, With Related Texts Mark Sullivan (bio) Charles Brockden Brown. Weiland; or, The Transformation, An American Tale, With Related Texts, ed. Philip Barnard and Stephen Shapiro. Indianapolis: Hackett Publishing, 2009. xlvii+353pp. US$12.59. ISBN 978-0-87220-974-9. Philip Barnard and Stephen Shapiro's excellent introduction and detailed notes for Weiland (1798) add a considerable depth of knowledge to this new edition of Charles Brockden Brown's first novel. Brown (1771–1810), a noted novelist, historian, and editor, had been positioned as one of, if not the first American novelist during a time of increasing political and cultural conservatism (ix). Barnard and Shapiro associate the conservative legacy that Brown has enjoyed to the biography of William Dunlap, who "labored to obscure Brown's progressive and cosmopolitan concerns" (xi). In doing so, Dunlap sought to ensure Brown's position in the distinctly American culture that emerged after the War of Independence. The strength of the introduction for this edition is in considering the extent to which these "progressive" concerns occupy Weiland. Brown's theory and approach to the novel as a form are espoused in his two essays on the subject, "Walstein's School of History" (1799) and "The Difference between History and Romance" (1800), both included here as related texts. To measure Brown's importance to American culture as a critic or author risks repeating the project Dunlap undertook, and Barnard and Shapiro are astute in avoiding tracing literary traditions from Brown; instead, they focus on the connections between his essays, influences, and the novel itself. Barnard and Shapiro primarily consider the influence on Brown of the Woldwinite writers, in particular "Mary Wollenstonecraft, William Godwin, Thomas Holcraft, Robert Bage, and Thomas Paine" (xviii). The tenets of the Woldwinite project encompass a total rejection of the old regime, "because it is artificial and illegitimate" (xviii), advocating the "development of more rational, constructive and transparent [End Page 741] institutions" (xviii). The culmination of this mandate is enacted through culture, which is able to "generate larger social transformation because society works through chains of associative sentiment and emulation" (xviii). Barnard and Shapiro do not locate the origins or intentions of Weiland entirely in this influence, but they do consider the novel to be an interrogation of the "relative stability of Enlightenment-era social and political agendas, and the causes for their demise" (xiii). To summarize the novel would be an error as this is precisely the tertiary reading that Barnard and Shapiro are writing against. In pointing out that Brown's "complex back stories and subplots are remarkably coherent and precise" (xi), Barnard and Shapiro are quite right to suggest that the novel's depth belies the sensationalism of family tragedy and murder within the narrative. Brown's approach, for Barnard and Shapiro, evokes a sense of social education through culture, achieved by "placing his characters in situations of social and historical distress as a means of engaging a wider audience into considerations of progressive behaviour" (xiv). This is not the definitive blueprint for Weiland but certainly presents a comprehensive understanding of the influences working on Brown's inception and execution of the novel. The related texts serve to further illustrate the context of the novel's publication. The accounts of the Yate (278) and Beadlee family murders (280), from which Brown takes inspiration for Weiland, allow the reader to consider the novel within a wider culture. The subtitle, "The Transformation," is decidedly apt in Barnard and Shapiro's reading, as Brown creates a series of movements, not least towards and away from rationality (xii). The German sub-genre of the Gothic taken here as Brown's adopted form for Weiland was in its origins the fruition of "frustration at blocked modernity" (xxvi). Brown's rendering of a tragic family near Philadelphia sees the metaphysical or the divine as benign; the threat is manifested from within, and the family's own inability to escape a method of reasoning wherein the irrational is possible ultimately causes its downfall. The progressive sensibilities that Brown endowed upon the Weiland family taken in conjunction with the stylistic influence of the German Gothic subgenre present Weiland as...

Jan van der Heyden's urban prose*

Jan van der Heyden's urban prose*

The Grammar of Ornament: Cosmopolitanism and Reform in British Design

At the Great Exhibition in 1851, British designers were rendered mute in the face of overwhelming evidence that nearly every country in the world had a more coherent and culturally integrated style of design than that of Victorian Britain. One response by reformers in Britain was to create a modern language of design based on studies of international and historical ornament. Among the most important results of this effort was the orientalist scholar and architect Owen Jones’ 1856 publication, The Grammar of Ornament. The book contained 100 dazzling chromolithograph plates of multiple examples of patterns from around the world and a series of ‘Propositions’ that codified universal principles of design under the unifying term of ‘nature’. This article contends that The Grammar of Ornament was an explicitly cosmopolitan text that attempted to synthesize the industrial and imperial ethos of the period through universal principles of design. Understanding Jones’ work, and the design reform movement more broadly, in terms of cosmopolitanism offers a richer awareness of the complex interplay of stylistic influence and mastery at work in the industrial and imperial design culture of mid-Victorian Britain.

Stanley Morison's Aldine Hypothesis Revisited

Admiration for the graphic vigor of the past brought historic fonts back into use in the modern period and renewed scholars' discus sions of stylistic influence in type design. In this context, the British type historian, Stanley Morison, proposed in the 1920s a hypothesis that was to alter the writing of typographic history in the twentieth century. Then at the beginning of his career, and busy scouring ar chives for examples of fine printing, Morison observed that, at origin, the French roman types of the early sixteenth century shared traits with the romans used by the Italian Renaissance publisher, Aldus Manutius. The observation was at variance with the scholarly opin ion of the period. Aldus was known for his Greek type, and for hav ing had Francesco Griff o cut the first italic in 1501. Aldus's roman, by contrast, was overlooked by historians as they assessed the influ ence of Italian fonts on later French ones. Nicolaus Jenson's 1470 ro man was heralded instead as the most likely model for the designs. Praise for Jenson's roman was rampant in the literature. The most recent volley had come in 1922 with the publication of Daniel Berkeley Updike's landmark study, Printing Types, Their History, Forms, and Use.1 Updike identified the strengths of Jenson's font as readability, its mellowness of form, and the evenness of colour in mass, and continued: Jenson's roman types have been the accepted models for roman letters ever since he made them, and, repeatedly copied in our own day, have never been equalled.... No other man produced quite so fine a font, or had better taste in the composition of a page and its imposition upon paper.2 Updike went on to characterize the Aldine roman as distinctly inferior to Jenson's.3 Even so, with little debate, Morison's Aldine hypothesis was quickly considered proven. It was supplemented by others, and is incorporated as fact in the modern literature on the history of typography. Scholars who work in the area, however, constantly encounter both the value of Morison's insight and the limitations of his construct. My work on some of the principal theorists and prac titioners of French Renaissance typography,4 for instance, has raised many questions about the utility of the hypothesis, suggesting that it needs to be rethought and, if necessary, revised. 1 Daniel Berkeley Updike, Printing Types, Their History, Forms, and Use, A Study

JEFFREY H. JACKSON and STANLEY C. PELKEY, editors. Music and History: Bridging the Disciplines. Jackson: University Press of Mississippi. 2005. Pp. xvii, 268. $50.00

For decades, musicology and history have seemed to revolve in different orbits. Musicologists inherited the Romantic notion of a transcendent art work and discussed pieces as things unto themselves. Where historical connection was sought, it was of stylistic influence strictly within the musical sphere. The second half of the twentieth century saw that model recede if not collapse, to be replaced by a new emphasis on cultural context. The context remained inward looking, however: how can a culture illuminate a musical work, rather than how can a musical work illuminate a culture? For most historians in the Anglo-American tradition, music has been predominantly a sideshow, a fascinating bit of the past but mostly decorative, of little fundamental importance to understanding the past. Music's place in the historical dialogue has been further complicated by the sheer technical difficulties of musical analysis. Few historians have the training or the inclination to engage in nuanced discussion of musical details, and for those that do, who would be able to read it?

Resident Artist: A Profile of Artist Michal (Miki) Kehati, Yemenite / Israeli Citizen of the World

Michal (Miki) Kehati's paintings, collages, and prints, with their dense layering of images and bold, frenetic designs, are born of a profound engagement with her Yemenite heritage, the rich artistic traditions of her forebears, and a thoroughly contemporary sensibility. Coming from a traditional background where "the women were always cooking and talking in the kitchen and the men worked with tools and materials," she seems consciously to have chosen the "man's path." "My family came to Israel from Yemen," says Kehati, "and we settled in and around Jerusalem, city of diversity—of population, of architecture, with so many periods and influences, and with its special perfume of antiquity, lying on the ancient spice road from orient to occident." Kehati was born and raised in Israel; the significance of that "we" lies in how her art mirrors that journey, with its upheavals of immigration and resettlement. In addition to the influence of her grandparents and parents, who were craftspeople, artists, and, most importantly, independent thinkers, she credits the late Dan Zaif, the "brilliant, free-spirited, high school director and mentor" who first taught her art history, and the studio classes she took as a youth at the Israel Museum with encouraging her development as a serious artist. Kehati speaks proudly of her late mother, Yona Kehati, an interior designer who was a commander in the army in the 1950s, when this was not common for women. After her own mandatory army service, Miki, disenchanted with Israeli politics of the early 1980s, left for New York. She attended the Art Students' League, waitressed, cleaned houses, and worked in art galleries. Over the course of three years, step by step, she put together a portfolio and finally achieved her goal of attending the prestigious School of Visual Arts. [End Page 224] The stylistic influence of such prominent New York artists as Richard Serra, Jackie Windsor, Bryan Hunt, and Dennis Oppenheim might not be evident in her work, but Kehati says of them that their charisma and personality helped her shape her own distinctive artistic persona. After ten years in New York, she returned to Jerusalem "as one enriched and eager for new expression." The body of work she has been making since then displays a sophisticated and assured integration of her Yemenite/Israeli background with her chosen citizenship in the international art world. Click for larger view Figure 1 "Rumye in her house" (2006) Mixed media on paper, 8.5" × 11.52"

A Profile of Artist Michal (Miki) Kehati, Yemenite / Israeli Citizen of the World

A Profile of Artist Michal (Miki) Kehati, Yemenite / Israeli Citizen of the World

Ashen Hearts and Astral Zones: Bashevis Singer in Yiddish and English Preparations

This article interprets the career of the Yiddish writer Isaac Bashevis Singer, winner of the Nobel Prize for Literature in 1978, in English translation. Involved is an understanding of the emotional and linguistic impact of the Haskala or “Jewish Enlightenment” on Polish Jewisk life as well as of the other ideologies confronting Jewry—Socialism, Zionism and Hassidic Return, for example. Involved also is a just evaluation of the linguistic achievements of Singer’s translators, especially Jacob Sloan, Cecil Hemley, Elaine Gottlieb, Saul Bellow and Isaac Rosenfeld, all of whom have a creative identity with a thematic and stylistic influence on translation quality. An attempt is likewise made to demonstrate Singer’s transcendence of his rabbinical past and of his refuge in the United States.

Pierre-Joseph Pezerat. Architecte français à la Cour impériale du Brésil (1825-1831)

Pierre-Joseph Pezerat, a French architect at the Brazil Imperial court (1825-1831) This study deals with the realizations in Rio de Janeiro of the architect Pierre-Joseph Pezerat (1801-1872) and with the role he played in the context of the strengthening of Brazil’s independence, during the period called the “Primeiro Reinado” (the first Empire) between 1822 and 1831. The architect’s arrival in Brazil is part of a number of scientific and military missions, which were meant to “civilize”. That raises the question of the way the new Brazilian elite was recruted in Europe by the Imperial House, on one hand, and, on the other hand, that of the French stylistic influence on 19th century Brazilian architecture. We wish to show to what extent art history can and should be taken into account as an enlightening element in the history of Brazil and, more precisely, of the exchanges between France and Brazil. Our approach combines an analysis specific to art history and a study of historical sociology.

Pindar, Virgil, and the Proem to "Georgic" 3

THIS PAPER ARGUES that certain prominent features of the proem to Georgic 3 owe a direct debt to Pindar and are thematically and stylistically distinct from the epinician poetry of Callimachus.1 In 1969, L. P. Wilkinson made the case for Pindaric influence in the proem, but since then Richard Thomas and others have advanced powerful arguments, based on newly discovered Callimachean papyri, to the effect that the proem is colored throughout by allusions to Hellenistic poetics.2 These studies mark an advance in our understanding of the proem, but the pendulum has swung too far; scholarly attention to the passage's Callimachean refinement and Hellenistic allusions has begun to obscure the equally important mood of Pindaric triumphalism which characterizes it.3 The matter is undoubtedly one of critical emphasis. It is a well-established principle of Virgilian scholarship that, even in short passages, Virgil can allude at once to two, or sometimes three, other authors.4 As a result, while acknowledging the significance of a Callimachean presence in the proem, I shall argue that Pindar has been undervalued in recent years and that our understanding of the proem can be considerably enriched if we pay closer attention to its Pindaric overtones. Two general points should be made before turning to the proem itself. First, it is wrong to draw too sharp a contrast between Pindar and Callimachus, since we know that Callimachus himself was indebted to Pindar. Several recent studies have detailed Pindar's thematic and stylistic influence on Callimachus, and, given Pindar's own allusiveness, selectivity, and refinement, a connection between these poets should come as no surprise.5 It is possible that some allusions that appear I would like to thank Stephen Harrison and Elaine Fantham, as well as the editor and anonymous referees of Phoenix, for their comments and suggestions. The interpretation I propose thus develops the arguments of Wilkinson 1969 and Wilkinson 1970; cf. also Lundstrom 1976; Buchheit 1972; and now Instone 1996: 24, suggesting that Virgil uses victory-ode topoi in order to compose an elaborate recusatio. As Wilkinson argues, it is very likely that Virgil knew Pindar, since Horace's own lyric poetry gives evidence of multiple debts to Pindar; on Horace's use of Pindar, see Highbarger 1935; Wilkinson 1951; Wilkinson 1970; and recently Harrison 1990: 31-43 and Harrison 1995: 110-115. 2See especially Thomas 1988; Thomas 1983: 92-113; Thomas 1986a: 61-73; Perkell 1989: 61-63; Cameron 1995: 480-481.

Philips Wouwerman, 1619 - 1668

Philips Wouwerman, 1619 - 1668

The Kritios Boy: Discovery, Reconstruction, and Date

Despite its frequent appearance in textbooks and histories of Greek art, the Kritios Boy has never been the subject of a discrete or detailed study. Perhaps as a result, a number of misconceptions and errors have found their way into the scholarship on the piece (the height of the statue, for example, is considerably greater than the almost universally cited dimension), and certain problems (such as the curious nature of the join at the neck) have gone unresolved. This article clarifies a number of issues related to the discovery and reconstruction of the statue, presents the results of work performed on the statue in the spring of 1987 (when the head was removed from the torso, the join reexamined, and the post-World War II restoration proved incorrect), and examines criteria for identifying and dating the statue.It is argued that the head and torso of the Kritios Boy, though found at different times and in different spots, certainly belong together and that there is no evidence of any ancient repair. Neither head nor torso came from a homogeneous deposit of Perserschutt; indeed, it is likely that the statue's bodily parts were not buried until the third quarter of the fifth century (an old photograph showing the torso of the Kritios Boy in the company of the Moschophoros, Angelitos's Athena, and the head of the pedimental Athena from the Archaios Naos, and often used as evidence for the torso's archaeological context, has little or no documentary value). It is suggested that the statue may in fact have been created under the stylistic influence of Kritios and Nesiotes (often doubted), that the Kritios Boy represents a young hero (Theseus, in all likelihood) rather than a victorious boy athlete (the usual identification), and that it was probably dedicated on the Acropolis after 480 B. C., in which case it was the victim not of Persians but of either accident or Athenians.

The Display of Art: An Historical Perspective

art, both help provide an invaluable historical perspective. These books show that the spaces in which artworks are displayed influence our thinking about these works in two distinct ways. Spatial connections often imply relations of stylistic influence and exhibit period styles. Cubist works are hung after Cezanne's late paintings; paintings by Fragonard, Chardin, and David are hung together: such arrangements cause us to look for connections between these artworks. And the in

Masque Influence on the Dramaturgy of Beaumont and Fletcher

Previous articleNext article No AccessMasque Influence on the Dramaturgy of Beaumont and FletcherSuzanne GossettSuzanne Gossett Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Modern Philology Volume 69, Number 3Feb., 1972 Article DOIhttps://doi.org/10.1086/390331 Views: 3Total views on this site Citations: 2Citations are reported from Crossref Copyright 1972 The University of ChicagoPDF download Crossref reports the following articles citing this article:Edel Lamb Beaumont, Francis, (Sep 2017).https://doi.org/10.1002/9781118297353.wbeerlb013Elizabeth Zeman Kolkovich Women Dancing the Morris in Fletcher and Shakespeare’s The Two Noble Kinsmen , 1613–2015, Shakespeare 13, no.22 (Feb 2017): 164–179.https://doi.org/10.1080/17450918.2017.1282975

The Stylistic Influence of the Second Sophistic on the Panegyrical Sermons of St. John Chrysostom. A Study in Greek Rhetoric

The Stylistic Influence of the Second Sophistic on the Panegyrical Sermons of St. John Chrysostom. A Study in Greek Rhetoric

The Stylistic Influence of the Second Sophistic on the Panegyrical Sermons of St. John Chrysostom. A Study in Greek Rhetoric. By Rev. Thomas E. Ameringer, O.F.M., M. A. Pp. 103. Washington, D.C.: Catholic University of America, 1921.

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