S. Ignatius vulneratus et conversus est. Los tipos iconográficos ignacianos de la herida y la conversión en sus fuentes literarias y gráficas

ABSTRACT: The cycle that narrates the process from the wound to the conversion of Ignatius of Loyola had, from its origins, a decisive importance for the Society of Jesus, since it was understood as the second birth of its founder. The genesis of the three iconographic types that form this cycle —Vulneratur, Sanatur à S. Petro and Legit libros pios— must be sought in the Vita written by Pedro de Ribadeneyra (1572) and in its subsequent graphic dissemination in the works of Pieter Paul Rubens (1609) and the Galle brothers (1610). After the canonization of St. Ignatius, Jesuit residences were filled with pictorial series that, in many cases, included representations of these iconographic types, which sought to spread devotion of the saint and depict him as a model to imitate. KEYWORDS: Ignatius of Loyola; Wound in Pamplona; Apparition of Saint Peter; Conversion; Pieter Paul Rubens; Theodoor Galle; Hieronymus Wierix; Iconography; Society of Jesus; Baroque. RESUMEN: El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos iconográficos que componen este ciclo —Vulneratur, Sanatur à S. Petro y Legit libros pios— hay que buscarla en la Vita escrita por Pedro de Ribadeneyra (1572) y en su posterior difusión gráfica a través de las obras de Pieter Paul Rubens (1609) y los hermanos Galle (1610). Tras la canonización de san Ignacio, los domicilios jesuíticos se llenaron de series pictóricas que, en muchos casos, incluían representaciones de estos tipos iconográficos, las cuales buscaban propagar la devoción por el santo y mostrarlo como modelo a imitar. PALABRAS CLAVES: Ignacio de Loyola; Herida en Pamplona; Aparición de san Pedro; Conversión; Pieter Paul Rubens; Theodoor Galle; Hieronymus Wierix; Iconografía; Compañía de Jesús; Barroco.

Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum

В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.

Alexander Melamid’s Portraiture of the 2010s

The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.

Peningkatan Motivasi dan Prestasi Belajar Menulis Teks Eksposisi Menggunakan Model Discokaku Dipadu Gambar Berseri di SMA Negeri 5 Magelang

This research was aimed to investigate students' motivation and their learning achievement in writing exposition texts. To seek the answer, we used discokaku teaching method and pictorial series. This study was carried out under classroom action research. We implemented three main stages of pre-cycle, cycle I, and cycle II, each cycle using three meetings. The participants were 10th graders of SMA Negeri 5 Magelang. The data were attained from test and non-test techniques. The test technique deployed (1) Kahoot! for assessing their understanding and (2) pictorial series for the writing test. For the non-test, this study adopted some qualitative instruments: journal, observation, interview, and documentation. The result shows that discokaku teaching method and pictorial series were able to improve students’ motivation from 23.47% to 33.87% and their achievement from 3.13% to 78.13% at the end of the cycle 2.

The Influence of Glass in the Color of Red Lakes Layers in Oil Painting: A Case Study in a Pictorial Series Attributed to Murillo Located in Guadalajara, Mexico

ABSTRACTThis paper discuss the presence of powdered glass and quartz integrated in the red lake layers of two paintings attributed to the Sevillian painter Bartolome Esteban Murillo that belongs to the Guadalajara’s Regional Museum’s art collection. A laboratory experimental reproduction of the Sevillian painting technique was made using three different lakes (cochineal, madder lake and brazilwood) mixed with four varieties of glass to explore the optical properties and the influence of the transparent and translucent aggregates into the oil paint layers. The experimental reproductions were analyzed using ultraviolet-visible spectroscopy, optical and fluorescence microscopy and scanning electron microscopy (SEM-EDX). A comparison between the originals and the reproduced red lakes layers was carried out to understand the artistic process of Murillo’s color application. Preliminary results suggest that glass was not used as a siccative agent as the historical treatises mentioned but mainly as an additive to increase brightness, thickness and color saturation of the red lake layers related to the artist’s intention.

The Religion of Greece in Prehistoric Times. The Sather Lectures, XVII. By Axel W. Persson. Pp. 189; pl. 11 + 29 text figs. Berkeley and Los Angeles: University of California Press, and Cambridge University Press, 1942. 12s.

Dr. Persson's account of prehistoric Greek religion is based upon precise observation of his archaeological material and general inference from cults in the nearer ‘Afrasian’ countries. There is also a chapter on its survivals in classical Greek religion and another on comparisons with that of the Nordic Bronze Age. His archaeological evidence consists mainly of twenty-eight engraved signetrings from Crete and the Greek Mainland, rather more than have hitherto been counted among religious documents ; their subjects are excellently reproduced in enlarged photographs and are very fully, ingeniously and plausibly described. A twenty-ninth illustration shows the elaborate design of the ‘Ring of Minos’ convincingly analysed into three subjects which have been copied with inadequate knowledge from other rings. The ‘Ring of Nestor’ and those of the ‘Thisbe Treasure’ are more discreetly bypassed. Dr. Persson's conclusion is that Minoan–Mycenaean religion as shown in the pictorial series of the signets, even in the bull-fighting scenes, was principally concerned with the annual vegetation cycle, in which human death and burial were involved. He finds here a single goddess and a young god whom he identifies or compares with the divine consorts of fertility cults in Asia Minor, Syria, Babylonia and Egypt. The multiplicity of deities apparently persisting from prehistoric times, in later Greek cult and mythology, is reasonably explained by the adoption of invocatory epithets as proper names, partly through the ignorance of the Hellenic population, partly through their inclination towards definite ideas and persons in religion.