DSpace Collection:
https://hdl.handle.net/10171/58693
2024-03-29T14:31:47ZThe religious paintings of William Congdon and the problem of religious art in modernism
https://hdl.handle.net/10171/68891
Title: The religious paintings of William Congdon and the problem of religious art in modernism
Abstract: This paper presents a review of William Congdon’s religious paintings. The critical analysis takes into consideration the theory of several authors. Jacques Maritain’s comments on Congdon’s religious work are especially clarifying. He explains the difference between contemplative art, sacred art and religious art. Such ordering complements both the idea of contemplation in the Western artistic tradition and the notion of the artist as a kind of visionary, as a medium, that we find, for example, in Baudelaire. Two primary features of religious art stand out as a result of this analysis. Firstly, the concept of transparency, which regards the mediating character of the work, and secondly, the primacy of reception, regarding the function of the work in a religious context. In the final section the relevance of these notes on Congdon’s work is examined. This demands further study, not only of the works conceived as objects, but of the creative process, on the one hand, and of its critical fortune, on the other.; William Congdon (Providence, 1912. - Milano, 1998.) bio je uspješan akcijski slikar ranog razdoblja Njujorške škole. Tijekom 1940. i 1950. godina dijelio je trgovca i iskustvo sa slikarima poput Jacksona Pollocka i Clifforda Stilla. Pregled njegova rada, ali i rada drugih umjetnika, poput njegova bliskog prijatelja Richarda Pousette-Darta, dio je recentne reinterpretacije povijesti Njujorške škole. Godine 1961. izdana je Congdonova knjiga In My Disc of Gold, s predgovorima Jacquesa Maritaina i Thomasa Mertona, u kojoj se autor, tada netom pokršten katolik, predstavlja kao kršćanski umjetnik i slikar sakralnih tema. Ova publikacija označuje početak duge faze njegova slikarstva koja se s umjetničkog stajališta smatrala neuspjehom. Ona se smješta između dvaju uspješnih razdoblja njegova stvaralaštva: prvoga, od 1948. do 1959., obilježenog snažnom egzistencijalnom krizom, te posljednjega, od 1979. do 1998., kada doseže dirljivu lirsku apstrakciju, u skladu sa svojim osobnim razvojem. Dvadeset godina (1959.-1979.) koje je Congdon posvetio „religijskoj“ umjetnosti bilo je plodno u slikarstvu i tekstovima (pisma, članci, predavanja itd.) i predstavlja svjedočanstvo njegova herkulovskog nastojanja da istraži sve mogućnosti suvremene religijske ikonografije. Poteškoće s kojima se Congdon susreo imale su, između ostalog, veze s neprikladnosti ekspresionističkog umjetničkoga iskustva, što je proizvod romantičarske tradicije, i zahtjevima religijske ikonografije i sakralnoga slikarstva. Ovaj članak osvrće se na Congdonovu poetiku tijekom toga razdoblja. Komentari Jacquesa Maritaina na Congdonov religijski opus pojašnjavaju mnoge stvari, između ostalog razliku između kontemplativne umjetnosti, svete umjetnosti i religijske umjetnosti. Takav poredak upotpunjuje Congdonovu ideju umjetnika kao svojevrsnog vizionara, posrednika, a koju pronalazi, primjerice, u Baudelaireu. Dvije glavne značajke religijske umjetnosti ističu se kao rezultat ove analize. Prva jest koncept transparentnosti, što se odnosi na posredujući karakter djela, a druga je važnost recepcije, što se odnosi na funkciju djela u sakralnom kontekstu. U posljednjem odjeljku istražuje se značaj navedenih misli o Congdonovu radu. Ovaj doprinos završava prijedlogom hipoteze prema kojoj pitanja koja proizlaze iz Congdonova pokušaja da se razvije kao „slikar u Crkvi“ potencijalno određuju problem koji nadilazi njegov rad i mogao bi se proširiti na opći prikaz razvoja i statusa „religijske“ umjetnosti u doba modernizma.2018-01-01T00:00:00ZLo angélico y lo posthumano: encuentro de contrarios en el Ángel Caído de Marina Núñez
https://hdl.handle.net/10171/68106
Title: Lo angélico y lo posthumano: encuentro de contrarios en el Ángel Caído de Marina Núñez
Abstract: El presente texto analiza los múltiples temas que se encuentran en la serie de infografías Ángel Caído que la artista Marina Núñez expuso en la Catedral de Burgos en 2008. En estas obras, cuestiones propias del imaginario de la artista como la ciencia ficción, el feminismo y el transhumanismo se ven afectadas por la fuerza iconográfica y temática de la tradición de la representación angélica. En la primera parte se hace una breve presentación de la obra de la artista para pasar, en la segunda, al estudio de la serie en cuestión como lugar de encuentro entre aspectos propios del humanismo y de la teología judeo-cristiana con preocupaciones propias del cientifismo materialista.; This paper analyzes the multiplicity of issues addressed by the artist Marina Nuñez in her works Fallen Angel, a series of infographics exhibited at Burgos Cathedral (Spain) in 2008. In these works, typical topics of her art such as science fiction, feminism and transhumanism are shaken by the iconographic and thematic strength of the angelic images tradition. First, there is a brief presentation of the artist’s work; secondly, the study of the series in question as a meeting point for humanism and Judeo-Christian theology aspects with some materialistic scientism concerns.2017-01-01T00:00:00ZA guide and two untime chronicles to contemplate Rothko's work
https://hdl.handle.net/10171/65897
Title: A guide and two untime chronicles to contemplate Rothko's work
Abstract: The experience offered by a museum to a visitor can have different nature and importance for everyone. Each
artwork is perpetually sending a message to the viewer, possibly creating an art-person link. This link can provide experiences
of great significant power to the visitor. The article below aims to delve into the facilitation of these experiences in the case of
the paintings created by the artist Mark Rothko work (1903-1970). Their special characteristics mean that they can be called
"Rothko experiences". As a result, a guide to viewing the work, based on the artist's recommendations, has been developed
which can facilitate the emergence of these so-called "Rothko experience". Specifically, some of the multiple "realityaesthetical-art" connections experienced between Rothko's work and people whom observation incorporate an aesthetical and
metaphysical dimension of reality are presented. To help in the understanding of these profound experiences and the aesthetical
education of sensibility, the narrative method is used through two chronicles that gather the experiences lived by the authors in
their contemplation of Rothko's work. These chronicles are examples that can help to understand the possibilities of Rothko's
contemplative painting. The result is a synthetic study of Rothko work conceptualization, through one guide and the narrative
dialectics between two "Rothko experiences" to show his aesthetical way of thinking, represented in his paintings.2018-01-01T00:00:00ZThe metamuseum as the future of the museum institution?
https://hdl.handle.net/10171/65266
Title: The metamuseum as the future of the museum institution?
Abstract: Throughout its history, the museum has undergone a great evolution in the sense that it has shifted its weight from the column of objects to the column of people. Today, museums face many challenges in an increasingly fast-paced and changing society, where the personal, the social, diversity and inclusion are advancing forcefully. Taking into account the necessary adaptation of the museum to social requirements, this article analyzes the situation of the museum institution with foresight for the future to conceptualize the so-called metamuseum, capable of reflecting with itself in real time and with characteristics such as resilience, interdisciplinarity, adaptation, openness, independence and delocalization. Tise article proposes the metamuseum as a fifth generation of museums, where the interaction with objects is transformed into a successful experience where the needs and expectations of individuals and social groups are fully satisfied.2022-01-01T00:00:00Z