http://hdl.handle.net/10023/601 2013-05-18T09:11:15Z http://hdl.handle.net/10023/611 Abstract: Apart from more common forms of state aggrandisement, such as official portraiture, grand allegorical compositions and public monuments, ephemeral spectacles have played an important role in the formation of the state’s public image. This article will examine the political imagery created for an unusual patron, and used for an equally seldom discussed function. The objects of this discussion will be the emblematic decoration of banners, created as the main artefacts in a political spectacle devised by Vikentije Jovanovic (1731-1734), the Orthodox archbishop of Karlovci. The spectacle in question was the inauguration ceremony of the Illirian-Rascian regiment he founded in 1735. Description: Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000384/; Article 6 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; This issue was sponsored by The Sikorski Polish Club and The Scottish Polish Cultural Association 2003-01-01T00:00:00Z Todorovic, Jelena. Apart from more common forms of state aggrandisement, such as official portraiture, grand allegorical compositions and public monuments, ephemeral spectacles have played an important role in the formation of the state’s public image. This article will examine the political imagery created for an unusual patron, and used for an equally seldom discussed function. The objects of this discussion will be the emblematic decoration of banners, created as the main artefacts in a political spectacle devised by Vikentije Jovanovic (1731-1734), the Orthodox archbishop of Karlovci. The spectacle in question was the inauguration ceremony of the Illirian-Rascian regiment he founded in 1735. http://hdl.handle.net/10023/610 Abstract: Polish art of the 1980s was in a period of transition from modernism to postmodernism. Theoretical debates and disputes concerning both of these terms and their interrelations are still going on. However, the goal of this article will be to portray the specific character of Polish art in the 1980s in relation to the problem of sacrum. Spiritual and metaphysical themes were present in post-war avant-garde work, but it was only in the art of the 1980s that there was a real explosion of interest in such ideas. The term sacrum is drawn from the phenomenology of religion, and means sanctity, a sphere of meeting deity with believer (sacer, sacra, sacrum in Latin – devoted to God). Description: Article 4 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; This issue was sponsored by The Sikorski Polish Club and the Scottish Polish Cultural Association; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000387/ 2003-01-01T00:00:00Z Gralinska-Toborek, Agnieszka. Polish art of the 1980s was in a period of transition from modernism to postmodernism. Theoretical debates and disputes concerning both of these terms and their interrelations are still going on. However, the goal of this article will be to portray the specific character of Polish art in the 1980s in relation to the problem of sacrum. Spiritual and metaphysical themes were present in post-war avant-garde work, but it was only in the art of the 1980s that there was a real explosion of interest in such ideas. The term sacrum is drawn from the phenomenology of religion, and means sanctity, a sphere of meeting deity with believer (sacer, sacra, sacrum in Latin – devoted to God). http://hdl.handle.net/10023/609 Abstract: Tamara de Lempicka’s fusion of artistic influences from 16th & 17th century Italy with the exuberant modernity of 1920’s Parisian society made her a leading figure in the world of Art Deco’s painters. Lempicka’s accomplishments and renown came from a mixture of innate design skills, her study of art and the inventiveness of her vision. This article examines the development of her work and its later reception. Description: Article 3 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe.; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000385/ 2003-01-01T00:00:00Z Hodge, Kim. Tamara de Lempicka’s fusion of artistic influences from 16th & 17th century Italy with the exuberant modernity of 1920’s Parisian society made her a leading figure in the world of Art Deco’s painters. Lempicka’s accomplishments and renown came from a mixture of innate design skills, her study of art and the inventiveness of her vision. This article examines the development of her work and its later reception. http://hdl.handle.net/10023/608 Abstract: This article will discuss some aspects of Paul Burman's compositions. The creative endeavour of Paul Burman (1888-1934) belongs to the earliest period of Estonian art history. Born into a Baltic-German family, living mainly in Estonia, he received his art education in the Art Academies of Russia. Burman therefore belonged simultaneously to the Baltic-German, Estonian and Russian culture spheres and connected them in his art. Burman's creation reveals a complicated, many-faceted art concept. The article applies phenomenological and visual theories to Burman's work, discussing the role of body and space in his compositions of nude riders which develop from the creative imagination. Burman's compositions can be interpreted as an expression of an inner Ulysses, a constant wandering on horseback, passing through the rectangular space of the picture. The beholder is only witnessing a pause on this inner journey, painted with the suggestivity of a reverie. Description: Article 2 of 7 in an issue devoted to the visual culture of Poland and Eastern Europe; Previously in the University eprints HAIRST pilot service at http://eprints.st-andrews.ac.uk/archive/00000386/ 2003-01-01T00:00:00Z Burman, Kristi This article will discuss some aspects of Paul Burman's compositions. The creative endeavour of Paul Burman (1888-1934) belongs to the earliest period of Estonian art history. Born into a Baltic-German family, living mainly in Estonia, he received his art education in the Art Academies of Russia. Burman therefore belonged simultaneously to the Baltic-German, Estonian and Russian culture spheres and connected them in his art. Burman's creation reveals a complicated, many-faceted art concept. The article applies phenomenological and visual theories to Burman's work, discussing the role of body and space in his compositions of nude riders which develop from the creative imagination. Burman's compositions can be interpreted as an expression of an inner Ulysses, a constant wandering on horseback, passing through the rectangular space of the picture. The beholder is only witnessing a pause on this inner journey, painted with the suggestivity of a reverie.