Auguste Rodin

Part of a major section of the historical context volumes of the book that look at the history of Christian art especially for its portrayals of Jesus and Mary Magdalene that dare openly to flout the dogma. This passage looks at a sculpture by Rodin showing Jesus in the moment of death on the cross in the embrace of Mary Magdalene.

In het artikel ‘Jan Van den Bergh’ door Jan Bernard wordt de eeuwenoude kunst van het maken van wandkleden besproken. Bernard biedt een historische context, waarin hij uitlegt dat wandkleden een belangrijke decoratieve rol vervulden voordat behang populair werd. Hij introduceert de lezer aan Jan Van den Bergh, een kunstenaar die zich richt op het bedrukken van stoffen, een modernere en technisch complexe variant van deze kunstvorm. Bernard belicht de technische uitdagingen en de artistieke passie van Van den Bergh, die zijn kantoorleven opgaf om zich aan deze ambachtelijke kunst te wijden. De beschrijving van Van den Bergh's zolderatelier in Den Haag geeft een bijna magische dimensie aan het verhaal, waardoor de lezer wordt meegenomen in een wereld van kleur en creativiteit.

In this paper, the question is this one: how do we describe a human being? It starts from the assumption that no discipline is really concerned with this question and that it is up to existential anthropology to deal with it. On the one hand, the paper calls for a method: the continuous film focused on an individual, and the most accurate description of this continuity. On the other hand, it reinforces its epistemological choice from the technique of sculpture in the round used by Rodin for The Age of Bronze. This sculpture, disconnected from the architectural space and from any context, is produced with a precise methodology that invites anyone to walk around the statue. The paper then refers to Decroux’s words on mime, establishing a link between the still images of the film (as a support for the description) and the mimes. The movement is thought as a transport of immobility and analysed in its capacity to be restrained rather than to dissolved or to flow.

Called 'Mandala For Malta in Grey', the exhibition includes 41 mandalas, which are the prayers, and 38 oil and tempera works. The artist calls these latter pieces the foundations on which his philosophical structure rests. In Sanskrit, mandala means circle, which symbolises the manifestation of the eternal universe. A philosophy that derives from Buddhism, it suggests that persons capable of entering into a deep concentration can visualise this universality ...

Imaginarien der Kraft, Bd. VII
Edited by: Frank Fehrenbach, Laura Isengard, Gerd Micheluzzi, and Cornelia Zumbusch
Contributions by: Dennis Borghardt, Robert Jütte, Anatol Heller, Adrian Renner, K. Lee Chichester, Ksenia Fedorova, Gerd Micheluzzi, Johanna Schumm, Yashar Mohagheghi, Thomas Moser, Alexander H. Schwan, Iris Laner, Racha Kirakosian, Laura Isengard, Clemens Finkelstein, Wolfgang Welsch und Christoph Hoffmann.
Link: https://www.degruyter.com/document/isbn/9783111060385/html

Abstract:
Forces elude perception. Since antiquity, however, perception itself (aisthesis) has been considered a force (dynamis). Thinking about perception means balancing the tensions between truthfulness and susceptibility to deception, passive impression and active imagination, hidden cause and perceptible effect. Aesthetically encoded perceptual attitudes such as stimulus, overwhelmedness, attention, or distraction also give rise to reflections on aesthetic concepts of force. From a variety of disciplinary perspectives, the contributions to this volume ask how conceptualizations of sensory forces relate to the problematic perceptibility of forces, how artistic processes are adapted to perceptual models, and how this plays out in the formation and modification of perceptual conventions.
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Kräfte entziehen sich der Wahrnehmung. Umgekehrt wird Wahrnehmung (aisthesis) seit der Antike als Kraft (dynamis) bestimmt. Das Nachdenken über Wahrnehmung tariert die Spannung zwischen Wahrheitsfähigkeit und Täuschungsanfälligkeit, passiver Impression und aktiver Imagination, verborgener Ursache und wahrnehmbarer Wirkung aus. Ästhetisch kodierte Wahrnehmungseinstellungen wie Reiz, Überwältigung, Aufmerksamkeit oder Zerstreuung geben außerdem Anlass, über ästhetische Kraftvorstellungen nachzudenken. Die Beiträge fragen aus mehreren Fachperspektiven, wie sich Konzeptualisierungen der Sinneskräfte zur problematischen Wahrnehmbarkeit von Kräften verhalten, wie künstlerische Verfahren an Perzeptionsmodelle angepasst werden und welche Rolle sie bei der Ausbildung und Veränderung von Wahrnehmungskonventionen spielen.

< s o ro jm u llic k @ g m a il.c o m > d id h is d o cto ra l stu d ies on T heology o f E d u c a tio n in the M u ltic u ltu ra l a n d P lu rire lig io u s C o n te x t o f In d ia (2006). H e has rich experiences o f m ore than tw o decades in the fie ld s o f education, fo rm a tio n , a n d p a sto ra l m in istry in India a n d abroad, a n d is active in Catechetical & Youth Ministry. H e has p ublished numerous articles in theological and pastoral jo u rn a ls a n d edited volumes.

The purpose of this study was to determine whether changes had occurred in the work satisfaction of nursing services after the establishment of private initiative in health care due to the deregulation program currently conducted by the government. In a survey conducted in the latter part of 1988 700 questionnaires were sent out of which 213 were returned which gives a response of 30,43 percent. The analysis was based on this data. The attitudes of the members of the nursing services ranged from antipathy to lively enthusiasm. It was, however, clear from the response that there exists a strong negative view amongst the nursing profession regarding remuneration, communication, training and promotion. These are tendencies that can harm the profession as a whole on the long run and should therefore receive special managerial attention. Recommendations include market related remuneration, continued nursing training, and planned career paths, as well as an appeal that only minimum admiss...

Salivary gland tumours (SGT&#39;S) are uncommon. The minor glands are dispersed throughout the upper aerodigestive submucosa including the lip. To present two case reports of salivary gland tumour of the upper lip and highlight its diagnostic and therapeutic challenges. A 50-year-old female farmer presented with a two year history of swelling of the upper lip and the histology revealed a pleomorphic adenoma of the minor salivary gland. She was offered a wide excision which resulted in a huge upper lip defect managed by a two staged lip switch ABBE flap. The second patient, a 40-year-old female teacher presented with a 10 year history of a left sided upper lip swelling. Histology revealed pleomorphic adenoma. She was offered an excision with no evidence of recurrence after 26 months of follow up. Salivary gland tumours should be considered as a differential diagnosis of tumours of the lip: Early presentation is advocated as late presentation with advanced tumour presents diagnostic a...

Membrane, dialogue, lance – Bakhtin/Venter In this article the short story “Die enigste” (&quot;The only one&quot;) from the collection Oop toe (Open closed) (1990) by De Waal Venter is read in dialogue with Mikhail Bakhtin’s essay &quot;From the prehistory of novelistic discourse&quot; (1981). The citation of another’s discourse is very obvious in the story, especially in the way Leichtfinger’s theory of membranes is cited. Citing this (fictive) theory has a strong seductive appeal, and forms but part of the way the male discourse of penetration is dialogized here - i.a. in the courtly discourse the story adopts. The story in the end shows up the essence of dialogism - that is, exposing lofty discourse to the corrective of the fullness of life. The confrontation of the story with Bakhtin’s ideas, taking theory not very seriously but seriously enough, is also a plea for more space for literary-theoretical work in South Africa.

Kalleya thrived on directly subverting modernist principles and schools of art against these very same principles and schools. Using a Dadaist anti-ideology to sustain divinity and sacredness in art, the Duchamp 'chance' and 'choice' categories were rooted in a divine providential hand and the modernist values of the temporary nature of artefacts so as to define eternity. Thus, Kalleya's oeuvre was, albeit unknown, one of the most dissident acts within the modern and contemporary art scene. Similarly to what Ulrich Meinherz says on the sculptor Hans Josephsohn, one finds here a militant pre-modern tradition coupled with a radical multi-layered reference: a multi-layered proto-modernist reference permeated by a constant dominant line of indifference to the quotidian. In Kalleya's art this was transformed from what John Berger defined as a 'Breughel indifference' into a subversive nihilist indifférence leading the ontic onto the ontological.

This publication includes the proceedings of a conference convened by Giuseppe Schembri Bonaci [University of Malta] in 2018. The contributors included Sophie Biass-Fabiani from the Musee Rodin, Paris, Joseph Paul Cassar from the University of Maryland University College, Julia Kelly from Leeds Beckett University, Ulrich Meinherz from Kesselhaus Josephsohn,  St. Gallen, Barbara Vujanovic, from Atelijer Mestrovic, Zaghreb and Giuseppe Schembri Bonaci from the University of Malta.
A main objective of the conference was to study the role sculpture
played in the formulation of a new artistic language and to also analyse
the various idiomatic alternatives to Rodin’s art co-existing during the
first decades of the twentieth century and beyond. Rodin is widely
considered as the forbearer of modern sculpture whose pervasive
influence proclaimed him as the authority of sculptural art.
Rodin’s own developments were challenged by his successors
and marginalised contemporaries who further pursued the aesthetic
revolution catalysed by the French master sculptor. The conference
Peripheral Alternatives to Rodin in Modern European Sculpture
focused on various exponents of modern sculpture such as the Italian
Medardo Rosso, the more recent Swiss sculptor Hans Josephsohn,
the Maltese contemporaries Antonio Sciortino and Kalleya, Henry
Moore, Alberto Giacometti, Lucio Fontana, Constantin Brancusi,
Georg Baselitz, and several others.

În universul artistic al lui Constantin Brâncuși, tradiția și modernitatea se întrepătrund într-o armonie perfectă, dând naștere unui limbaj sculptural unic și atemporal. Maestrul își alimentează creativitatea din două surse fundamentale: observarea atentă a lumii înconjurătoare și îndrumarea mentorilor remarcabili care și-au pus amprenta asupra evoluției sale artistice.

We propose here an interview with the anthropologist David Le Breton on his
latest book Des visages, une anthropologie (2022) to deepen into the ambivalence of the face, which represents the enigma of our relationship to otherness, its sacred side, the respect and veneration of others and, at the opposite end of the spectrum, its desecration, the rejection of the other, stigmatisation and racism.
In this encounter with the face of the other, the essence of my humanity is at
stake. It is here that the dialogue with the Other begins, my responsibility towards others, and where social meanings are constructed. The face is the place of both extreme individualisation and socialisation. It is identity and alterity. With David Le Breton we will analyse the history of the face in Western societies, the privileges and stigmas associated with it and the dangers of facial recognition procedures.
Keywords: face, appearance, otherness, identity, mask.

Resum : Entre el 1911 i el 1914 el poeta nicaraguenc Ruben Dario dirigi la revista Mundial Magazine que troba en la figura del modernista Pompeu Gener el vincle entre la intel·lectualitatcatalana i hispanoamericana. Gener, a traves de la correspondencia amb el poeta, feupossible la col·laboracio d’artistes i literats catalans dins de la revista tot obrint la culturacatalana al mon. Per aixo, en el present estudi es preten reivindicar la figura de Pompeu Gener i el seu paper com a vertebrador, persona de contactes i promotor cultural i, a lavegada, mostrar el resso que tingue Ruben Dario i la seva revista a Catalunya. Resumen : El papel de Pompeu Gener como promotor y activista cultural a traves de larevista internacional Mundial Magazine (1911-1914) de Ruben Dario. Entre 1911 y 1914 el poeta nicaraguense Ruben Dario dirigio la revista Mundial Magazine ,que tuvo en la figura del modernista Pompeu Gener el vinculo entre la intelectualidadcatalana e hispanoamericana. Gener, a traves de...

Contemporary dance seeks access to the museum and thus to the domain of visual arts. Conversely, in the second half of the twentieth century, the visual arts were generalized into a pure activity in a defined field of action. Following a performance by dance group Rosas, which starts from sculptures by Hans Arp and Auguste Rodin, I investigate what fundamental possibilities exist for the encounter between dance and sculpture. At its core, this revolves around the combined questions: what remains? and what disappears? With her ambition to enter the museum, choreographer Anne Teresa De Keersmaeker conjures and encircles the great, mythical notions of art and artisthood that we know from the early twentieth century. In my text I analyze the ambivalence of that movement, but also the space that has been created in contemporary art for a performative intervention from dance practice.

RESUMO Este texto apresenta reflexões sobre a pesquisa performativa realizada pelo Duo Mimexe, em 2018, nos EUA, na relação com a Mímica Corporal. A experiência integrou o convívio, no modo laboratorial, com Thomas Leabhart, Leonard Pitt, Corinne Soum e Steven Wasson, ex-assistentes de Étienne Decroux, objetivando compreender ressonâncias artísticas e pedagógicas daquela arte em suas atividades atuais, em perspectivas interculturais, com estudos de reperformance e o corpo como arquivo. Discute-se o caráter de ateliê expandido fortalecido na experiência, concluindo que a maneira artística decrouxiana ainda pode ser guia de pesquisas baseadas na prática, gerando, inclusive, arte.

O presente trabalho é uma reflexão acerca da proposta criativade Étienne Decroux, por meio da arte Mímica Corporal Dramática, na relação com o pensamento intercultural. Esta análise encontra apoio inicial na noção do teatro como um fenômeno de confluências. Ela busca reconhecer a interculturalidade como uma passagem de fronteira, a começar no exercício do ator/performer sobre si mesmo e sua identidade cultural, abrindo-se para um comportamento cênico dialógico que possa criar gestualidades expressando híbridos performativos.

Reproduire l'art au temps de Rodin, Journée d'étude [sur place ou en ligne] Sous la direction d'Emmanuel Pernoud, professeur émérite d'histoire de l'art contemporain, Université Paris 1 Panthéon-Sorbonne, Véronique Mattiussi, chef du service de la Recherche, musée, Rodin Franck Joubin, documentaliste, chargé des colloques, musée Rodin
le 10.11.2023 Paris

El pintor Miquel Villà, promocionat pel marxant d’art Joan Merli va esdevenir un dels pilars de la seva organització artística creada el 1930. La pintura de Villà, adscrita al realisme pictòric i diferent a la resta, no va ser entesa pel públic i Merli va haver de fomentar el seu interès entre els col·leccionistes així com va afavorir la seva projecció a l’exterior. El present estudi recupera les relacions professionals entre ambdós i les activitats del marxant en el marc de la crisi de l’art i el retorn al realisme de la dècada dels anys trenta.

Étude d'histoire de l'art pour un sujet singulier et particulièrement inscrit dans son siècle, traité au regard d'apports littéraire, philosophique, psychologique et psychanalytique. Mémoire de fin d'étude de Master 2 d'histoire de l'art de Lola Konieczko, sous le tutorat de

Célèbre en Autriche pour son salon au sein duquel elle accueillait les plus grands artistes et intellectuels de son temps – Gustav Klimt, Gustav Mahler, Stefan Zweig –, Berta Zuckerkandl fut elle-même une critique d'art majeure qui a impulsé et soutenu le développement de l'art moderne au tournant des XIX et XXe siècle. Belle-soeur de Georges Clemenceau, elle s'illustra aussi comme intermédiaire entre la France et l'Autriche en important les oeuvres d'Auguste Rodin et d'Eugène Carrière, celles de l'Impressionnisme et de l'Art nouveau. Cet ouvrage retrace le parcours hors norme d'une femme engagée qui croyait fermement qu'agir au-delà des frontières pour établir des échanges artistiques et culturels, permettrait de garantir la paix en Europe.

Pierre Lorenzi (1879-1943), héritier d’une famille toscane de mouleurs statuaires établie en 1871 à Paris, rue Racine dans le 6e arrondissement, donna une ampleur considérable à l’atelier familial, fournisseur des particuliers, des établissements publics et des écoles d’art. Le catalogue de sculpture et de décoration (« Moulages artistiques, objets d’art, reproduction de cheminées anciennes ») qu’il publia à l’orée du XXe siècle est un répertoire précieux pour l’histoire du goût, puisque ses 116 planches reprennent, toutes époques et toutes échelles mêlées, les sculptures, des plus minimes aux plus spectaculaires, les plus en vogue au tournant du siècle. La plupart de ces moulages sont encore produits par Lorenzi, dernier des grands ateliers statuaires du XIXe siècle en activité, à Arcueil.
Mais c’est dans La boutique aux numéros 19-21 de la rue Racine, aujourd'hui fermée, que Rilke et Aragon pouvaient acquérir, sans avoir à passer commande, des moulages de L’Inconnue de la Seine, ou que Marcel Proust, amateur de reproductions et admirateur des chefs-d’œuvre de la peinture photographiés par la Maison Braun, tout comme de la collection des « Grands artistes » chez Laurens, aurait pu acheter la copie d’un buste de Laurana ou de la Tête de cire du musée de Lille, dont il est question dans son article de 1905, « Sur la lecture ». Cette communication revient sur l’estime portée par Proust aux reproductions d’art, en insistant particulièrement sur un panachage éloquent de trois fleurons de l’atelier Lorenzi, L’Inconnue de la Seine, le Buste d’une femme inconnue de Laurana, et la tête de cire du musée de Lille.

El éxito y la magna repercusión que acapararon en América figuras como Huntington, Sorolla o Zuloaga, han llegado a eclipsar la presencia de otros artistas y agentes de carreras menos altilocuentes, pero que sin embargo nos proporcionan las claves para poder redimensionar el proceso de introducción del arte español en el nuevo continente.

Intervento tenuto all'interno del seminario dottorale "Dialoghi sulla scultura italiana dell'ottocento (1815-1915)" del 14-15 settembre 2023. Seminario svolto presso il dipartimento Studi Umanistici dell'Università degli Studi di Napoli Federico II