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Provides an introduction to the 2001-2002 Clip and Save Art Prints that will focus on ten art movements from the past 150 years. Includes information on three art movements, or "isms": Classicism, Romanticism, and Realism. Discusses the Clip and Save Art Print format and provides information on three artists. (CMK)

Examines the relationship between romantic idealism and vocational goals of art education in nineteenth-century Nova Scotia, Canada. Compares these ideas with those of John Ruskin concerning art and morality. Discusses the views of the Nova Scotian educators relative to issues of contemporary art education. (KO)

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres - from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation. [ABSTRACT FROM AUTHOR]

The broad and varied concept of human age in early secular art, particularly in portraiture, was typically interpreted rather directly through the lens of life stages. One of the most intriguing forms of portraiture that explores the theme of age is group portraits of parents and their children, which reflect family ties across generations. The principal subject of this article is a 1798 painting by an unknown, but likely local, artist housed in the Samogitian Museum "Alka" in Telšiai. The painting depicts Zofia z Jelskich Terebeszowa (1773-1826) and her daughter Katarzyna z Terebeszow Szuksztowa (1794 or 1795-1845). This artwork, which came from the former collections of the Medingėnai Manor, is a rare piece in the context of Lithuanian art history. It invites us to closely examine the specific iconographic history associated with the concept of maternité and to meticulously reconstruct the story of the mother and daughter immortalized on the canvas. In the 1760s-1790s, the concept of a cosy and blissful family life, inspired by the sensual Rococo aesthetics and the didactic ideas of the Enlightenment, spread across France and Western Europe. This ideal became not only aspirational but also a fashionable social category. Women played a particularly important role as the primary and most important educators of children. This idea soon found expression in art, with numerous idealized representations of the so-called "happy family," showing parents and children enjoying everyday life. One of the most prominent trends was portraits of mothers with their children, depicting romanticized motherly love, often referred to as maternité (plural maternités, French for motherhood). This context is especially important when examining the intimate portrait of Zofia and Katarzyna. This unique Lithuanian depiction of motherhood subtly reflects the Western theme of maternité through specific elements and references (such as the attire of the subjects and the overall atmosphere), while also embracing the new philosophy of child-rearing promoted by educators. All these aspects are conveyed in a very restrained manner, without significantly challenging the relatively conservative local portrait tradition compared to foreign works. In this impressive portrait, one can sense the passage of time through the juxtaposition of childhood and maturity. The work depicts not only a mother and daughter but also two women at different stages of life - Katarzyna, who is still enjoying her carefree childhood, and Zofia, who is already immersed in the responsibilities of an estate owner. [ABSTRACT FROM AUTHOR]

Stephanie O'Rourke's book, "Art, Science, and the Body in Early Romanticism," explores the crisis in Enlightenment knowledge construction and the rise of Romantic science. O'Rourke argues that Romantic science sought to augment direct observation with subjective and speculative methods to account for mysterious dimensions of experience and the world. The book focuses on three artists¿de Loutherbourg, Fuseli, and Girodet¿who engaged with contemporary scientific discourses and raises questions about the relationship between art, science, and representation. O'Rourke's analysis highlights the shared concerns of art and science in the late eighteenth and early nineteenth centuries and the crisis over the evidentiary status of human experience. The book offers a teachable and interdisciplinary approach to understanding the intersection of art, science, and representation in this period. [Extracted from the article]

Stephanie O'Rourke's book, "Art, Science, and the Body in Early Romanticism," examines the connection between art and science in the Romantic period. O'Rourke suggests that artists like Loutherbourg, Fuseli, and Girodet incorporated scientific ideas into their work. However, the book does not fully explore the influence of religion and spirituality during this time. O'Rourke's analysis of a print depicting the execution of Louis XVI explores the complex relationship between truth, belief, and spectacle. Overall, the book provides a unique perspective on the relationship between art, science, and the body in the Romantic era. The text also discusses the use of symbolism and belief in the French Revolution, emphasizing the role of symbols like the Phrygian cap in asserting power. It references other scholarly works on the Enlightenment and the material conditions of scientific production, raising questions about the impact of belief and different modes of knowledge on our understanding of the world. [Extracted from the article]

B Rosalind Crone b (Rosalind.Crone@open.ac.uk) is Professor of History at The Open University, author of I Violent Victorians: Popular Entertainment in Nineteenth-Century London i (2012), and I Illiterate Inmates: Educating Criminals in Nineteenth-Century England i (2022), and project lead for www.prisonhistory.org. B Stefano Evangelista b is Professor of English and Comparative Literature at the University of Oxford and Fellow of Trinity College. B Thomas Albrecht b (talbrech@tulane.edu) is Professor of English at Tulane University. [Extracted from the article]

In this text, we propose that the basis of René Girard's mimetic theory, which allowed him to construct a "fundamental anthropology", can be found in Aesthetic Realism. We will expose some characteristic notes of the mimetic relation, to then be able to postulate that Girard opposes not only the romantic lie, which avoids accepting mimesis as a structuring element of desire but also the impressionistic falsification that hides the founding violence of societies. For this, we will analyze his theory of mimetic violence in two of his most important books, Romantic lie & romanesque truth [Deceit, Desire and the Novel: Selfand Other in Literary Structure] and Violence and the Sacred, and we will expose it facing the concepts of Romanticism, Realism and Impressionism, taken from the history of art and literature. Finally, we will briefly mention the absence of empirical evidence, as a criticism of Girardian fundamental anthropology, to conclude that this does not prevent us from speaking of realism in this theory. [ABSTRACT FROM AUTHOR]

Urnes Stave Church and Its Global Romanesque Connections: Edited by kirk ambrose, griffin murray and margrete syrstad andås Images of the Urnes Stave Church's mysterious 11th-century woodcarvings, reincorporated into the north wall of the current 12th-century building, have been increasingly reproduced in connection with a wave of popular interest in Viking culture generated by blood-spattering blockbuster TV dramatizations of the sagas written about the events of earlier centuries. Nevertheless, this academic publication makes an excellent contribution to counterbalancing Urnes' misappropriation by extending the re-evaluation and re-exploration of those "still undisclosed secrets" further along knowledge-based trajectories. [Extracted from the article]

The article presents the discussion on Edgar Allan Poe Review offering a provocative glance especially in the disciplines of cinema/film studies, art history, religious studies, visual culture, and world literature. Topics include handling the symbiotic relationship exists between texts and images especially in the personal articulation of Gothic Romanticism; and expanding the field by investigating Poe's American Romanticism alongside Emanuel Swedenborg's visionary theology.

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The article profiles Danish academic art historian Julius Lange. He studied architecture and classical philology at an art academy after recovering from an eye disease. Lange is known for his experience of Romanticism, Positivism, and opposition to materialism in philosophy. Also noted is his influence on the works of art history professor Johan Jakob Tikkanen.

With this book, Eric Michaud proposes a thesis on the origins of art history, which for him are intimately linked to the invention at the end of the 18th century of the myth of the invasion of the Barbarians as a key moment in the rejuvenation of Western civilisation. Tracking in the writings of major art historians the assertions on the link between art and race, he tries to unravel the thread of a discipline that was built on this idea of an ethnicity of art in concepts that still today weigh on the vocabulary and concepts commonly used. Michaud explores the positions of 18th century authors, in particular Winckelmann’s key role, then the major authors of 19th and early 20th century art history. Along the way, he sheds light on the close relationship between anthropology and art history when it came to proving the survival of races. In this sense, art and its monuments have assumed an obvious genealogical function on which the idea of stylistic constant and biological and psychological heredity is based and on which the ethnicisation of art could easily raise and flourish.

My article deals with the (mostly medieval) German architectural heritage in present-day Estonia and with the history of monument preservation in the Baltic region in connection with the Baltic German identity. The central area of interest for me are the representations and constructions of this heritage in the texts written about monument preservation. With the Enlightenment and Romanticism of the late eighteenth century, the first Baltic German scholars—literati began to show interest in old houses and works of art. The University of Dorpat (Tartu) was re-established in the early nineteenth century, but local affairs were not included in its teaching curriculum. Because of this, many Baltic Germans felt compelled to research the regional history and historical monuments themselves. During the nineteenth century, numerous learned societies were established, some of which focused specifically on cultural heritage, for example the Gesellschaft für Geschichte und Altertumskunde der Ostseeprovinzen Russlands (Society for the History and Archaeology of the Baltic Sea Provinces of Russia), which was founded in 1834 and was based in Riga. In a situation where the Russian state and the Estonian and Latvian populations were also undergoing a process of cultural and national awakening, material heritage became a key element in the development of a Baltic German identity. With a shared patriotic agenda, the learned societies gave new impulses to monument preservation and, around 1900, they published a number of popularizing texts. In my article, I analyze three examples: Die Erhaltung unserer Denkmäler (The Preservation of Our Monuments, 1888), Verhandlungen der Gesellschaft für Geschichte und Altertumskunde der Ostseeprovinzen Russlands, betreffend die Organisierung der Denkmalpflege (Negotiations of the Society for History and Antiquarian Research of the Baltic Provinces of Russia, Concerning the Organization of Monument Preservation, 1906), and Merkbüchlein zur Denkmalpflege auf dem Lande (The Notebook on the Preservation of Monuments in the Countryside, 1911). The first and third of these texts were written by the art historian and architect Wilhelm Neumann. These texts appear to have been motivated by a combination of pragmatic and national objectives. But what importance did the monument conservators themselves attribute to their initiatives? What arguments did they put forward in order to convince society, or at least those circles who were interested in culture, of the need to protect the remnants of the past? [ABSTRACT FROM AUTHOR]

The Russian avant-garde is one of the most effective movements of Art History as theory and practice. Consequently, the concept of Ostranenie, which was found and developed by Viktor Skhlovski and Russian Formalism have been remained original in postmodernism as well as in modernism. Moreover, New Media reflects the characteristics of Russian avant-garde due to new digital hardware and software technology and the new aesthetic potential of this technology. This update of 'avantgarde new' has been carried out by Lev Manovich. After the collapse of the Soviet Union, the Lomo camera, a product of the Russian optical industry, became a symbol of attraction and nostalgia. As a result of Austro-Russian cooperation, Lomography today has become an international analogue photography brand and a photographic genre. Post-Soviet social chaos is an inspiration source for art photographers, documentary photographers and photojournalists. In this context, Case History of Boris Mikhailov(1999), Winterreise of Luc Delahaye (2000), City of Shadows of Alexey Titarenko (2001), The Last Riot of AES+F (2005-2007)and Space of the City of Georgy Pervov (2004) are remarkable samples of a New Romanticism. These photographers have contributed to the development of postmodern photographic language, as well as fulfilling the historical witness mission with a humanist approach. [ABSTRACT FROM AUTHOR]