scholarly journals Les peintures murales du catholicon du monastère de Gradac: Répertoire des fresques et observations sur les particularités de certaines représentations

Zograf ◽  
2012 ◽  
pp. 89-108
Author(s):  
Dragana Pavlovic
Keyword(s):  
Wall Painting ◽  
The Church

This paper presents the iconographic program of frescoes in the Church of the Annunciation in the monastery of Gradac, in which there were a number of hitherto unrecognized sections that have now been identified. It publishes the pre served inscriptions on the frescoes, as well as the texts on the scrolls of the hierarchs in the altar space. Finally, it presents observations about the typical program features of the wall painting in the Gradac church, which have not been previously considered in research.

scholarly journals Stratigraphy of the wall paintings in the main church of the Praskvica Monastery

Zograf ◽  
2014 ◽  
pp. 153-163
Author(s):  
Dragan Vojvodic
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Wall Painting ◽  
The Other ◽  
Stylistic Analysis ◽  
Wall Paintings ◽  
The West ◽  
The Third ◽  
Technical Features ◽  
The Church

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic.

scholarly journals The vision of Saint Peter of Alexandria, from the Church of St. Archangels in Prilep: Iconographical research

Zograf ◽  
2012 ◽  
pp. 83-88
Author(s):  
Saso Cvetkovski
Keyword(s):  
Thirteenth Century ◽  
Wall Painting ◽  
Saint Peter ◽  
The Church

This text is dealing with a rare thematic innovation that appeared in Byzantine wall painting of the thirteenth century. In particular, the author explores the iconography of the Vision of Saint Peter of Alexandria as found in the Church of St. Archangels in Prilep around 1270. He argues that this work manifests a key moment in the development of this composition over the course of the thirteenth century. This links the same motif found in Melnik from the beginning of the thirteenth century, and a composition from the Church of the Virgin Peribleptos in Ohrid from 1294/1295. In the end, place of the Vision in the painted program of the western part of the Church of St. Archangels in Prilep is analyzed.

Apostolic Monasticism at Tokalı Kilise in Cappadocia

1985 ◽  
Vol 35 ◽  
pp. 57-65 ◽  
Author(s):  
Anthony Cutler
Keyword(s):  
Alluvial Soil ◽  
Tenth Century ◽  
Wall Painting ◽  
Wall Paintings ◽  
Relative Chronology ◽  
The Church

At least as early as the day, nearly eighty years ago, when Hans Rott gained access to “Doghalikilise” through an entrance reduced to a narrow cleft by heaps of rubble and alluvial soil, the monument has been recognized as the largest and most important in Göreme. Many of the wall-paintings of both the Old and the New Church at Tokalı were published by Jerphanion who correctly appreciated the relative chronology of these successive phases. This pioneering and still fundamental survey was supplemented by the excellent photographs of Jeannine Le Brun in Restle's corpus of 1967. In the same year, Cormack suggested on stylistic and iconographic grounds a probable date of ca. 913–920 for the decoration of the Old Church, a period little less than half a century before its relatively gigantic successor was cut transversely across its eastern end. Now, within a year or two, Tokalı Kilise will receive the ultimate accolade of monographic treatment by Ann Wharton Epstein in a book which treats the church as a cultural whole and finally recognizes the frescoes in the New Church as the supreme achievement of Byzantine wall-painting to survive from the tenth century.

Virtual Pilgrimages to Real Places: the Holy Landscapes

2012 ◽  
Author(s):  
Bianca Kühnel
Keyword(s):  
Wall Painting ◽  
Holy Land ◽  
Historical Events ◽  
Stations Of The Cross ◽  
Mnemonic Devices ◽  
Counter Reformation ◽  
Holy Places ◽  
The Cross ◽  
Real Places ◽  
The Church

This chapter attempts to differentiate between types of monumental representations of Jerusalem, to locate them historically and to explore the reasons for their extraordinary density by deciphering the essentials of their function as mnemonic devices in the framework of medieval devotionalism. Conditioned by historical events such as the Crusades, Franciscan canonization of the Stations of the Cross and the Counter-Reformation, representation of Jerusalem gradually expanded from copies of Christ's tomb in the Church of the Holy Sepulchre to commemorate the Stations of the Cross and other holy places in Jerusalem and the Holy Land. The holy landscapes are multimedia representations: they combine topography and architecture (neutral or reflecting the original) with life-size figural groups and wall painting to identify the holy places. Groups of such representations could form separate sites at a certain distance from settlements, or encompass a city with a network of reproduced loca sancta.

Medieval wall painting in the church of Santa Maria in Pallara, Rome: the use of objective dating criteria

2009 ◽  
Vol 77 ◽  
pp. 225-255
Author(s):  
Laura Marchiori
Keyword(s):  
Wall Painting ◽  
Santa Maria ◽  
The Church

Le pitture medievali nella chiesa di Santa Maria in Pallara hanno ricevuto poca attenzione da parte degli studiosi, forse per via dell'incertezza della loro datazione; infatti non si possiede nessuna indipendente documentazione letteraria per la loro realizzazione. Tradizionalmente datati al X secolo, le pitture mostrano un'iconografia più comune nei contesti del XII e XIII secolo, una rappresentazione di Apostoli seduti sulle spalle dei Profeti, che senza dubbio contribuiscono alla loro dimenticanza, visto che i monumenti più tardi sono ben documentati. Comunque, l'iconografia deriva dalle tradizioni romane della decorazione ecclesiastica, tradizioni che possono essere utilizzate in un'analisi delle pitture al fine di arrivare ad una datazione indipendente basata solo sulla loro forma e contenuto. Seguendo una metodologia sviluppata da John Osbornc per la datazione di pitture medievali prive di documentazione a Roma, questo articolo analizza i criteri obicttivi di datazione delle pitture di Santa Maria in Pallara; tali criteri sono la messa in opera, la funzione, il soggetto, le iscrizioni e la tecnica pittorica. Simili analisi suggeriscono che per le pitture è possibile una data al X secolo, che sono ben classificate nella storia della tecnica pittorica di Roma tra monumenti sicuramente datati al IX secolo e quelli datati all'XI e XII secolo.

scholarly journals FEATURES OF THE AMERICAN PERIOD OF ICON PAINTER P.M. SOFRONOV’S WORK

2020 ◽  
Vol 23 (4) ◽  
pp. 214-220
Author(s):  
Tatiyana V. Yurieva ◽  
Keyword(s):  
Significant Contribution ◽  
Scientific Literature ◽  
The United States ◽  
Wall Painting ◽  
The Third ◽  
The World ◽  
Church Art ◽  
First Time ◽  
The Church

The article for the first time gives an analysis of the work of the world famous, but little studied in Russia, Old Believer icon painter and restorer icons Pimen Maksimovich Sofronov in the third, American period. The author systematizes scattered information about his artistic activities in the United States, makes a chronology of the creation of his works during this period, and makes an analysis of them. The description of the temples where P.M. Sofronov worked, and the painting of their interiors, is given for the first time in scientific literature. Analyzing the biographical data and the work of the icon painter in the third, American period, which turned out to be the longest, the author of the article concludes that at this time the quality of the master's work is changing. Since, in Europe, P.M. Sofronov gained the experience of wall painting of churches, now, in North America, he was able to fully realize this side of his talent by making the transition from easel icon painting to monumental painting. Now the researcher's attention has been given to extensive temple complexes, often consisting of both stenographs and iconostases, which have their own specific program. The author interprets the canon in accordance with the architectural space that is provided to him for painting. Each time it is a new theological and artistic task. Having completed such major works as paintings of the interiors of Trinity Cathedral in Brooklyn, the Church of the Three Saints in Ansonia, the Church of Peter and Paul in Syracuse, the Vladimir Church in Trenton, St. Trinity in Weinland, the artist made a significant contribution to the church art of Russian emigration.

scholarly journals Matej Sternen as a Restorer: Selected examples in Slovenia and Croatia

2017 ◽  
Vol 11 (1) ◽  
pp. 204-223
Author(s):  
Nina Unković
Keyword(s):  
Original Work ◽  
Wall Painting ◽  
Practical Realization ◽  
Professional Expertise ◽  
Working Together ◽  
Restoration Practice ◽  
Restoration Work ◽  
Methodological Approaches ◽  
Manor House ◽  
The Church

Matej Sternen (1870–1949) is better known as an impressionist painter rather than for his restoration work, even though in his impressive career he discovered and restored a considerable number of works, especially frescos in Slovenia and Dalmatia (Croatia). His strong interest in restoration can be seen in the numerous notes he wrote about painting technologies, restoration and conservation techniques. This enriched his entire opus, as it stimulated him to try numerous painting techniques and genres, such as frescoes. Sternen was a painter who constructed his paintings very carefully, and a master in the preparation of the painting’s surface, or “the ground,” and always considered the laws of colours and their relationships and proportions to the white painted surface.In his restoration practice, working together with his close colleagues the art historians France Stele (1886–1972) and Ljubo Karaman (1886–1971), Matej Sternen actualized the principle “conserve instead of restore” that was the rule in his day. This paper is based on fieldwork data and archive sources, kept in Ljubljana, Celje, Split and Zagreb, and focuses on two important monuments — the painted ceiling in the Old Manor House in Celje (Slovenia), and a wall painting in the church of St Michael in Ston (Croatia). These two cases, which are different from both technical and methodological approaches to monument protection, clearly show Sternen’s professional expertise and practical realization of “conserve instead of restore,” which speaks in favour of preserving the original work as opposed to aggressive restoration interventions.

scholarly journals Newly discovered portraits of rulers and the dating of the oldest frescoes in Lipljan

Zograf ◽  
2012 ◽  
pp. 143-155
Author(s):  
Dragan Vojvodic
Keyword(s):  
Fourteenth Century ◽  
Wall Painting ◽  
The Church

On the fa?ade of the church of the Presentation of the Virgin, in Lipljan, the damaged depictions of two rulers were discovered under a more recent layer of fresco mortar. The depictions can be identified as portraits of the Serbian king and the emperor Stefan Dusan (1331-1355) and his wife Jelena. That provides the basis for the more reliable dating of the original wall painting in the interior of the church. For their part, the stylistic characteristics of that expressionistic painting suggest that the original Lipljan frescoes came into being around the mid-fourteenth century. Probably, they were executed by the same workshop that did the frescoes in the Church of St. Peter near Unjemir in Metohia, not very far from Lipljan.

Sign in / Sign up

Export Citation Format

Share Document