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By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a starting point, this paper will look deeper into the subtle connections discernible between the protagonists of the picture. These reveal how the collective identities of the artist and his painted assembly contribute directly to Beethoven’s already iconic status within music history around 1840 and reflect the reception of Liszt at this time. Set against the background of Romanticism predominant in the social and cultural contexts of the mid 1800s, it becomes apparent that it is no longer enough to look at a picture of a composer or performer in isolation to understand its impact on the construction of an overall identity. Each image must be viewed in relation to those that preceded and came after it to gain the maximum benefit from what it can tell us.

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Ladislav/László Mednyánszky and his relationship to Strážky. Strážky/Nehre/Nagyőr in the Spiš region and the Late Renaissance Castle, owned by his family played an important role in the artistic evolution of the painter L. Mednyánszky (1852–1919). His memorial museum was installed in the restored castle, which opened with a new exhibition of his works of the family's heritage enlarged by paintings lent by the Slovak National Gallery of Bratislava. Strážky represented for Mednányszky not only a source of fundamental nature experiences and a constant object of his landscape studies but also the first impressions of rural life and social interest. He installed also his atelier in the castle, and many of his works are seemingly rooted in the circumstances of his family. Such are e.g. portraits of his father, mainly those representing him on the catafalque. The author proves in this essay, that Mednyánszky's interest for shocking subject matters concerning death, catastrophes, survival after death in the sense of the Symbolism can be hardly related to his experiences (his father died in 1895), and can be documented already after late 1870's.

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La reception des formes iconographiques dans les régions frontières:

Vierge de miséricorde et Jugement dernier dans les peintures murales du royaume de Hongrie au XIVe

Acta Historiae Artium Academiae Scientiarum Hungaricae
Marie Lionnet


Five fragmentary cycles of the Last Judgment from village churches from medieval Hungary showing the Virgin of Mercy in the act of the intercession are studied as an iconographic peculiarity in the present paper. One of them (Petõszinye/Svinica) is situated in present Eastern Slovakia and four further exemples (Bögöz/Mugeni, Gelence/Ghelinþa, Sepsikilyén/Chilieni, Szék/Sic) in Transylvania belonging at present to Rumania. Beside the act of intercession, mainly the wall-paintings in Bögöz and Sepsikilyén indicate that the mantle of the Virgin was considered as a transitory place or refuge for the faithful. One can conclude that her mantle appears as an allusion to the concept of Purgatory. Beside contacts with the orthodox Church, the Author hypothesizes an impact of Franciscan religiosity as well. The interference of both cultural factors can be mainly explained by the border situation of this region.

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The main issues of the present study are: politics of the kingdom as exemplified on Hungarian illustrations of the Legend of St. Ladislas as well as of his conflict with King Solomon. The second issue concerns municipal politics as shown on the revision of representing caritative acts of St. Elizabeth on a panel of the Košice altarpiece. The third point concerns demonic temptations in representations of St. Anthony the Hermit.

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„Gyönyörű volt szál alakja”. Szent István király ikonográfiája a sokszorosított grafikában a 15. századtól a 19. század közepéig - Pótlások (új ábrázolások, adalékok és javítások)

“His stately figure was Beautiful” Iconography of king saint Stephen in graphic prints from the 15th to the mid-19th Century - Complementations (New representations, additions and corrections)

Művészettörténeti Értesítő
Éva Knapp

More than twenty years ago, in the “millennial year” (1 January 2000–20 August 2001), a representative work of scholarship was released in honour of the millennial anniversary of the foundation of the state (budapest, boda Antikvárium, 2001) about the representations of the first king of Hungary, Saint Stephen, in the medium of graphic prints. The publication was reviewed by noted scholars and has been referred continuously in special literature ever since.

It is common knowledge that the “image” of king Saint Stephen has been closely tied to Hungarian history, as a decisive personage at its turning points. After the publication of the book I have therefore kept tabs on and collected the data that enlarge, supplement and at a few times rectify its contents. for easier orientation, both the complementary material, the additions, and new representations are adjusted to the item numbers in the iconographic catalogue attached to the volume.

From among the addenda, one picture is a complementation to item 71, because in 2001 no copy of its first publication (1692) could be had. Among the sixteen addenda (27, 37, 46, 49, 62, 70, 79, 95, 96, 104, 108, 126, 153, 188, 191, 219) item 46 also received a new picture which arose as the “b” variant of the copperplate engraving (first published in 1626) in a so-far unknown, unique function in 1632. Another six items of the addenda also contain corrections (69, 76, 94, 100, 139, 139, 208), of which two (76, 100) name the original publication (1609 and 1612, resp.) of the two prints in the Hungarian Historical portrait Gallery removed from their original function. Six items of the corrigenda (5, 61, 75, 179, 187) make the description more accurate, with a picture added to one (187), restoring a cut-out copy kept in the Hungarian Historical picture Gallery now to its original function.

In the past two decades, the material of the volume has been enlarged by twenty five unpublished depictions, i.e. nearly by 10%. These pictures and descriptions collected on the basis of autopsy affect the period between 1493 and 1852, adjusted to the earlier chronology of the data. Their item number received the number of the preceding bibliographic description with the addition of an ‘a’ or two (5a, 35a, 55a, 70a, 79a, 81a, 90a, 90aa, 97a, 105a, 116a, 128a, 155a, 155aa, 187a, 188a, 192s, 193a, 215a, 216a, 216aa, 228a, 238a, 251a, 254a). The new representations are always attached pictures, and their description adopted the structure of the data in the 2001 volume.

Order of new information after the number of the item:

  1. Title or iconographic type of the representation

  2. Title of the print without the religious texts. Latter only given when there is no title.

  3. Form of appearance

  4. Date of making

  5. Technique of production

  6. Place of making, signature

  7. Size by the producing technique and by the state of the sheet

  8. Bibliographic description of the source containing the representation, with the accurate place of the print in the work at issue

  9. Place of preservation and mark of the copy about which the description is made

  10. Remarks

  11. Bibliography

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The thougths about the Muses of Guarino da Verona can not be considered as excentric. The fact, that even two Muses concerning Agriculture represented in the Studiolo cycle, may go back to the enthusiasm of Ferrarese humanists for country life as well as for bucolic literature. Polyhymnia in her rather simple appearence could be a personification of the pastoral Muse. Beyond several details of the series (e.g. robes open on the paunch, the head ornament of Thaleia) supposedly is a dialogue between painters and humanists. The artists might have done their best in giving an antiquizing aspect to their Muses. The Painter of Terpsychore took motifs from a Medeia-sarcophagus, while the model for Urania could be found in representations of Mars and Venus. Panofsky's “principle of disjunction”seems as valuable for these cases, as for the relation between Antiquity and Christian art. The formulation of Polyhymnia was influenced by a drawing made after antiquity, so, according to our actual knowledge, this is the first Renaissance painting representing a classical subject matter in an antique form. Hipothetically some of the drawings attributed to the so called ‘Anonimo dell’ Ambrosiana' and the painting of Urania and Polyhymnia could be attributed to Bono da Ferrara.

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We first come across flies painted to demonstrate the skilled craftsmanship of the artist in the works of Giovanni dei Grassi and the Limbourg brothers. The first such example I know of in a panel painting is in the painting of the Death of the Virgin, from the circle of the Master of the Albert altar (Esztergom, Christian Museum). Inspired by Pliny's anecdotes, painting apprentices in Francesco Squarcione's workshop in Padua in the 1460s, especially Giorgio Schiavone, painted trompe l'oeil flies to trick their fellow artists. Among others, humour, the romantic desire to revive antiquity, and the Aristotelian paradox that the ugly in art becomes beautiful also played a role. It was in this environment that Filarete's anecdote in which Giotto fools Cimabue with a painted fly was first concocted. The anecdote is told in the context of the paragone. Trompe l'oeil flies and the glorification of painting are similarly joined in Derick Baegert's painting of St Luke. The fly seen in Dürer's Feast of the Rosegarlands is related both to Dürer's self-portrait in the same painting and to the Opus quinque dierum. Anecdotes about flies so true-to-life as to deceive the viewer to this day survive in newer and newer versions, although the essence of these tales remains the same: the flies demonstrate the artist's humour and his ability to imitate nature.

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The celebration of the lizard:

The iconography and iconology of a magic ritual against the evil forces

Acta Antiqua Academiae Scientiarum Hungaricae
Ciro Parodo

Introduction The research presented in this paper 1 focuses on the analysis of the meaning of the iconography of the month of September in Late Antique Roman illustrated calendars. This

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-Taper. A note on Gandharan iconography.’ Annali dell’Istituto Universitario Orientale di Napoli [N.S.] 39/3 : 395 – 420 . [Repr. in M. Taddei 2003. On Gandhāra Collected Articles . Naples: M. D’Auria, 219–227.] Taddei , Maurizio 1983 . ‘Addenda

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Az avar centrum és a bizánci periféria •

Mediterráneumi eredetű alakos motívumok a késő avar díszítőművészetben a Kr. u. 8. században

The Avar centre and the Byzantine periphery: Mediterranean figural motifs in late Avar ornamental art from 8th century AD

Archaeologiai Értesítő
Gergely Szenthe

7. Jahrhunderts , Monumenta Avarorum Archaeologica, Magyar Nemzeti Múzeum , Budapest . Grabar , A. ( 1968 ). Christian iconography. A study of its origins . Princeton University Press , Princeton . Gschwantler , K. ( 2002 ). A

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