Art during the Reign of Rudolf II as Quintessence of Leading Mannerism Trend at Prague Art Center

This article is devoted to Rudolfine art as one of the style-forming components and a significant trend in European Mannerism of the 16-17th centuries. A general overview of this style, necessary preconditions that led to its emergence in the artistic culture of Europe, Mannerism major trends and its vectors of spreading in Europe, the role of Rudolfine artists in this process, are laid out in this work. We emphasized the lack of adequate research made in the field of Art History. The personal influence of Emperor Rudolf II on the formation of court art at that time was pointed out. We looked into the background and circumstances at which the Prague Art Center was established by the Emperor and how he provided patronage to the arts and science. The importance of works by prominent artists of the Rudolfine era who worked at the Prague Art Center is highlighted. The main directions of Mannerism distribution through European countries, mainly its further adaptation and style transformation depending on the geographical location, grounds on why the art was so influenced by the Italian movement, the approach and tools of Mannerism in one of the leading European courts. The main characteristics of the Rudolfine art style is highlighted. Its main representatives are defined and their individual creative styles are separately analyzed, including Giuseppe Arcimboldo, Roelant Savery, Bartholomeus Spranger, Joris Hoefnagel, Adriaen de Vries, Joseph Heintz the Elder, and Hans von Aachen. It is pointed out that there was a tendency in the synthesis of Italian, French, and German trends which formed the foregrounds of individual styles of major representatives in Rudolfine art that have been a significant element of Mannerism. General characteristics of stylistic features of Rudolfine artists as representatives of Mannerism who contributed to its fast proliferation in Europe are laid out.Стаття присвячена феномену рудольфінізму як одному з стильоутворюючих компонентів та значному явищу європейського маньєризму межі 16 та 17 ст. Подано загальну характеристику феномену, виокремлені передумови його виникнення в художній культурі Європи, основні складові, вектори розповсюдження маньєризму європейськими теренами та роль у цьому процесі творчості рудольфінців. Наглошено на незадовільному стані дослідженості проблеми у мистецтвознавстві, передусім – пострадянського простору. Акцентовано значення особистості імператора-мецената Рудольфа ІІ у формуванні характеру придворної культури доби, намічено обставини утворення празького художнього центру при дворі монарха-покровителя науки та мистецтв. Акцентовано значення творчості майстрів, які були найхарактернішими представниками рудольфінського мистецтва і працювали при празькому художньому центрі за доби правління Рудольфа ІІ. Намічені головні вектори швидкого поширення маньєризму, тобто географія поліфуркаціі стилю, його тріумфальної ходи європейськими землями, причини об-італення художньої культури, його механізми й інструменти при одному з провідних європейських дворів. Виділено основні стильові характеристики рудольфінського мистецтва, визначено його основних представників, творчі манери яких стали предметом самостійного аналізу: Дж. Арчімбольдо, Р. Саверея, Й. Спрангера, Й. Хофнагеля, А.де Вріса, Й. Хайнца Ст., Г. фон Аахена. Виділено тенденцію до синтезу італійського, французького, німецького впливів як основи творчої манери провідних представників рудольфінського мистецтва, значного сегмента маньєризму. Дано загальну характеристику стилістичних рис творчості представників рудольфінізму як носіїв рис маньєризму, що сприяють його швидкому поширенню по Європі.Статья посвящена феномену рудольфинизма как одному из стилеобразующих компонентов и значительному явлению европейского маньеризма пределы 16 и 17 ст. Представлена ​​общая характеристика феномена, выделены предпосылки его возникновения в художественной культуре Европы, основные составляющие, векторы распространения маньеризма европейскими территориями и роль в этом процессе творчества рудольфинцев. Показано неудовлетворительное состояние изученности проблемы в искусствоведении, прежде всего - постсоветского пространства. Акцентировано значение личности императора-мецената Рудольфа II в формировании характера придворной культуры эпохи, намечено обстоятельства образования пражского художественного центра при дворе монарха-покровителя науки и искусств. Акцентировано значение творчества мастеров, которые были наиболее характерными представителями рудольфинського искусства и работали при пражском художественном центре в эпоху правления Рудольфа II в. Намеченные главные векторы быстрого распространения маньеризма, то есть география полифуркации стиля, его триумфального шествия европейскими землями, причины о-италення художественной культуры, его механизмы и инструменты при одном из ведущих европейских дворов. Выделены основные стилевые характеристики рудольфинського искусства, определены его основные представители, творческие манеры которых стали предметом самостоятельного анализа Дж. Арчимбольдо, Р. Саверея, И. Спрангера, И. Хофнагеля, А. де Вриса, И. Хайнца ст., Г. фон Аахена. Выделена тенденция к синтезу итальянского, французского, немецкого влияния как основы творческой манеры ведущих представителей рудольфинського искусства, значительного сегмента маньеризма. Дана общая характеристика стилистических черт творчества представителей рудольфинизму как носителей рис маньеризма, способствующих его быстрому распространению по Европе

Art during the Reign of Rudolf II as Quintessence of Leading Mannerism Trend at Prague Art Center

This article is devoted to Rudolfine art as one of the style-forming components and a significant trend in European Mannerism of the 16-17th centuries. A general overview of this style, necessary preconditions that led to its emergence in the artistic culture of Europe, Mannerism major trends and its vectors of spreading in Europe, the role of Rudolfine artists in this process, are laid out in this work. We emphasized the lack of adequate research made in the field of Art History. The personal influence of Emperor Rudolf II on the formation of court art at that time was pointed out. We looked into the background and circumstances at which the Prague Art Center was established by the Emperor and how he provided patronage to the arts and science. The importance of works by prominent artists of the Rudolfine era who worked at the Prague Art Center is highlighted. The main directions of Mannerism distribution through European countries, mainly its further adaptation and style transformation depending on the geographical location, grounds on why the art was so influenced by the Italian movement, the approach and tools of Mannerism in one of the leading European courts. The main characteristics of the Rudolfine art style is highlighted. Its main representatives are defined and their individual creative styles are separately analyzed, including Giuseppe Arcimboldo, Roelant Savery, Bartholomeus Spranger, Joris Hoefnagel, Adriaen de Vries, Joseph Heintz the Elder, and Hans von Aachen. It is pointed out that there was a tendency in the synthesis of Italian, French, and German trends which formed the foregrounds of individual styles of major representatives in Rudolfine art that have been a significant element of Mannerism. General characteristics of stylistic features of Rudolfine artists as representatives of Mannerism who contributed to its fast proliferation in Europe are laid out

“A whole chapel cast and engraved with images”: New Perspectives on the Tomb of Saint Sebald in Nuremberg

This dissertation critiques the concept of art-historical periodization through a monographic study of the brass tomb of St. Sebald in the Church of St. Sebald in Nuremberg, Germany. From the time it was designed and cast between 1488 and 1519 by the Vischer family workshop, this object has been considered a sculptural masterpiece, often called the first Renaissance sculpture north of the Alps. And yet, it has not been the subject of a monograph since 1970. The tomb is unique; no other saint’s tomb from the Holy Roman Empire displays such a dominant use of architectural forms. No other is cast in costly brass. No other employs classical and pagan motifs and ornament. And no other saint’s tomb remains preserved in a Protestant church. The Vischer family executed the tomb at a time when certain Nuremberg artists and intellectuals became interested in the forms of the Italian Renaissance, and the tomb displays an arresting blend of traditional Gothic, Germanic elements and Italianate figure types and themes. It is an object that preserves a period of transformation for a great city in visual form. Through examination of the specific religious, economic, political, and cultural context in which the tomb was commissioned, the formal vocabularies employed in its design, the technology that was harnessed to cast it, and the ways observers have reacted to it throughout history, I distance the work from assumptions made by previous scholars intent on viewing the work as a Renaissance sculpture deeply indebted to Italianate notions about art and artists. The first chapter of this dissertation considers the specific ways in which the Vischer workshop cast the tomb of St. Sebald, and the relationship of those techniques to the rest of the workshop’s objects, other founders in Nuremberg, and traditional casting techniques in German-speaking lands. The second chapter examines the tomb of St. Sebald as a site of saintly veneration, examining the ritual and economic aspects of the cult of St. Sebald in Nuremberg in the late fifteenth and early sixteenth century and the ways these factors may have affected the form and function of the brass tomb monument. My third chapter discusses the formal elements of the tomb, considering not only the classicizing ornament and pagan narratives, but also the ways that the Vischers employed traditional Gothic structural and decorative programs. This chapter also considers the specific motivations the patrons of the tomb may have had in encouraging these elements, and how they play off one another in a way that conforms to traditional hagiographic narratives. Finally, the fourth chapter traces the circulation of plaster casts of the whole tomb and its parts in the nineteenth century as a way to understand how the tomb and related objects were used to construct a sense of German national identity at the dawn of Germany as a unified nation. Through these various strands of investigation, a clearer picture of the role the tomb of St. Sebald played both in the time and place of its creation and the centuries of its continued existence will emerge, distinct from generalized conceptions of medieval or Renaissance artistic production

Koostööäriprotsesside läbiviimine plokiahelal: süsteem

Tänapäeval peavad organisatsioonid tegema omavahel koostööd, et kasutada ära üksteise täiendavaid võimekusi ning seeläbi pakkuda oma klientidele parimaid tooteid ja teenuseid. Selleks peavad organisatsioonid juhtima äriprotsesse, mis ületavad nende organisatsioonilisi piire. Selliseid protsesse nimetatakse koostööäriprotsessideks. Üks peamisi takistusi koostööäriprotsesside elluviimisel on osapooltevahelise usalduse puudumine. Plokiahel loob detsentraliseeritud pearaamatu, mida ei saa võltsida ning mis toetab nutikate lepingute täitmist. Nii on võimalik teha koostööd ebausaldusväärsete osapoolte vahel ilma kesksele asutusele tuginemata. Paraku on aga äriprotsesside läbiviimine selliseid madala taseme plokiahela elemente kasutades tülikas, veaohtlik ja erioskusi nõudev. Seevastu juba väljakujunenud äriprotsesside juhtimissüsteemid (Business Process Management System – BPMS) pakuvad käepäraseid abstraheeringuid protsessidele orienteeritud rakenduste kiireks arendamiseks. Käesolev doktoritöö käsitleb koostööäriprotsesside automatiseeritud läbiviimist plokiahela tehnoloogiat kasutades, kombineerides traditsioonliste BPMS- ide arendusvõimalused plokiahelast tuleneva suurendatud usaldusega. Samuti käsitleb antud doktoritöö küsimust, kuidas pakkuda tuge olukordades, milles uued osapooled võivad jooksvalt protsessiga liituda, mistõttu on vajalik tagada paindlikkus äriprotsessi marsruutimisloogika muutmise osas. Doktoritöö uurib tarkvaraarhitektuurilisi lähenemisviise ja modelleerimise kontseptsioone, pakkudes välja disainipõhimõtteid ja nõudeid, mida rakendatakse uudsel plokiahela baasil loodud äriprotsessi juhtimissüsteemil CATERPILLAR. CATERPILLAR-i süsteem toetab kahte lähenemist plokiahelal põhinevate protsesside rakendamiseks, läbiviimiseks ja seireks: kompileeritud ja tõlgendatatud. Samuti toetab see kahte kontrollitud paindlikkuse mehhanismi, mille abil saavad protsessis osalejad ühiselt otsustada, kuidas protsessi selle täitmise ajal uuendada ning anda ja eemaldada osaliste juurdepääsuõigusi.Nowadays, organizations are pressed to collaborate in order to take advantage of their complementary capabilities and to provide best-of-breed products and services to their customers. To do so, organizations need to manage business processes that span beyond their organizational boundaries. Such processes are called collaborative business processes. One of the main roadblocks to implementing collaborative business processes is the lack of trust between the participants. Blockchain provides a decentralized ledger that cannot be tamper with, that supports the execution of programs called smart contracts. These features allow executing collaborative processes between untrusted parties and without relying on a central authority. However, implementing collaborative business processes in blockchain can be cumbersome, error-prone and requires specialized skills. In contrast, established Business Process Management Systems (BPMSs) provide convenient abstractions for rapid development of process-oriented applications. This thesis addresses the problem of automating the execution of collaborative business processes on top of blockchain technology in a way that takes advantage of the trust-enhancing capabilities of this technology while offering the development convenience of traditional BPMSs. The thesis also addresses the question of how to support scenarios in which new parties may be onboarded at runtime, and in which parties need to have the flexibility to change the default routing logic of the business process. We explore architectural approaches and modelling concepts, formulating design principles and requirements that are implemented in a novel blockchain-based BPMS named CATERPILLAR. The CATERPILLAR system supports two methods to implement, execute and monitor blockchain-based processes: compiled and interpreted. It also supports two mechanisms for controlled flexibility; i.e., participants can collectively decide on updating the process during its execution as well as granting and revoking access to parties.https://www.ester.ee/record=b536494

Edoardo Benvenuto Prize. Collection of papers

The promotion of studies and research on the science and art of building in their historical development constitutes the objective that the Edoardo Benvenuto Association has set itself, since its establishment, in order to honor the memory of Edoardo Benvenuto (1940-1998). The Association in recent years has achieved interesting results by developing various activities such as: organization of national and international meetings, conferences, study days; collaborations with national and foreign research institutions; promotion of the editorial series “Between Mechanics and Architecture"; activation of the portal Bibliotheca Mechanica Architectonica, first “open source” digitized library dedicated to historical research on mechanical and architectural texts. But perhaps the most qualifying initiative was the institution of the Edoardo Benvenuto Prize, arrived in 2019 in its twelfth edition, reserved for young researchers in the field of historical studies on science and the art of building. The awarding of the Prize takes place after an in-depth examination of the texts received by the Association by an international commission of experts. The purpose of this book is to collect and present the most recent studies and publications produced by the winners of the various editions of the Edoardo Benvenuto Prize

History of Construction Cultures Volume 2

Volume 2 of History of Construction Cultures contains papers presented at the 7ICCH – Seventh International Congress on Construction History, held at the Lisbon School of Architecture, Portugal, from 12 to 16 July, 2021. The conference has been organized by the Lisbon School of Architecture (FAUL), NOVA School of Social Sciences and Humanities, the Portuguese Society for Construction History Studies and the University of the Azores. The contributions cover the wide interdisciplinary spectrum of Construction History and consist on the most recent advances in theory and practical case studies analysis, following themes such as: - epistemological issues; - building actors; - building materials; - building machines, tools and equipment; - construction processes; - building services and techniques ; -structural theory and analysis ; - political, social and economic aspects; - knowledge transfer and cultural translation of construction cultures. Furthermore, papers presented at thematic sessions aim at covering important problematics, historical periods and different regions of the globe, opening new directions for Construction History research. We are what we build and how we build; thus, the study of Construction History is now more than ever at the centre of current debates as to the shape of a sustainable future for humankind. Therefore, History of Construction Cultures is a critical and indispensable work to expand our understanding of the ways in which everyday building activities have been perceived and experienced in different cultures, from ancient times to our century and all over the world