Portrait of a Noble Woman in the memorial of Pavle Beljanski

Portret plemkinje, nedatiran i neatribuisan, izložen u Memorijalu Pavla Beljanskog, tipičan je primer vizualizacije ženskog identiteta u renesansi. Iščitavanjem prezentacionih kodova renesansnog doba u ovom radu se teži odgovorima vezanim za ideju identiteta predstavljene, kao i onima o poreklu samog portreta.The painting Portrait of a Noble Woman (oil on canvas, 56 x 47 cm) is on display in the Memorial Collection of Pavle Beljanski since 1966 as part of the Memorial dedicated to this important collector who, besides part of the Serbian art, collected many paintings of European new age art. The painting is undated and unattributed. Beljanski bought it in Rome in 1949 as a Portrait of a Princess and a piece by 'an unknown author of the Spanish school from the 16th century.' The elements of the painting shape the contours of the identity of an unknown woman, which is reconstructed in an interpretative procedure that includes the analysis of the social and cultural context, as well as the gender construction of the personality. The manner in which the face of the woman is constructed and placed suggests that she projects the aesthetic, ethical and social ideals of the Renaissance, most likely of the second half of the 16th century. Her hair, clothes and especially jewelry indicate the status of a married woman from aristocracy. The jewelry, which is visually the most dominant element of the painting, implies not only the high social status, but also a probable north Italian, most likely Venetian origin of the painting. The 'Spanish' identity emphasized in Beljanski's note has a special place in the construction of the presentation of the noble woman. It indicates the articulation of the Renaissance female identity with clothes, accessories and behavioral techniques similar to the ones in the Spanish court. The Renaissance politics of gender roles demanded the reconstruction of the woman's face that visually precisely demonstrates what the society expects of her. In that sense the woman from the painting in the Memorial fully embodies the presupposed idea of the female Renaissance identity. At the same time, the calm gaze directed at the observer expresses the emphasizes personality which Renaissance bestowed upon female portraits

Jewish identity in early modern European history

Jevrejski identitet u ranom modernom periodu - epohi u kojoj tradicionalno antijevrejstvo prerasta u antisemitizam - oblikovan je nasiljem, izgonom, getoizacijom, formama vizuelne diferencijacije, integracijom, ali ne i asimilacijom u okvire evropske hrišćanske kulture. Izučavanjem odnosa intelektualnih i fizičkih kategorija, duše i tela kao socijalnih i istorijskih konstrukta, može se, donekle, odgovoriti na pitanje šta to znači biti Jevrejin u ranom modernom dobu. Na osnovu iskustava aktuelnih protagonista i posmatrača, u njihovoj sopstvenoj realnosti, ovaj tekst predstavlja percepciju i samopercepciju Jevreja u mentalnim i vizuelnim kodovima renesanse.Jewish identity in the early modern period - the era in which traditional anti-Judaism turned into anti-Semitism - is shaped by violence, expulsion, ghetoisation, visual forms of differentiation, integration but not assimilation into the European Christian culture. Studying the relationship of intellectual and physical categories, soul and body as a social and historical construct, it can be, to some extent, answer the question what it means to be Jewish in the early modern period. Based on the experiences of actual protagonists and observers, in their own reality, this text represents the perception and self-perception of Jews in the mental and visual codes of the Renaissance

Presentation and self-presentation of Jews in early modern European history

Renesansna vizuelna kultura, sakralna i profana, oblikovala je lik Jevrejina kao grotesknog, iskvarenog i onog koji kvari. Međutim, razvoj i trajanje tog stereotipa nisu bili linearni, već su se menjali unutar promenljivog konteksta hrišćansko-jevrejskih odnosa. Iako je imažerija Adversus Judaeos nesporna, potrebno je izučiti njen mehanizam i skrenuti pažnju na postojanje promenljive dinamike predstavljanja Jevreja. Vizualizacija Sinagoge i starozavetnih heroja ukazuje na ambivalentnost prikazivanja jevrejskih toposa u ranom modernom dobu. Posebna pažnja skreće se na polje jevrejske vizuelne kulture. Jevrejska umetnost je samosvojna, ali je, istovremeno, i izdanak hrišćansko-jevrejskog dijaloga i međusobne razmene. Ona je proizvod jevrejskog duha, ali i integralni segment evropske kulture ranog modernog doba.Renaissance visual culture, sacred and profane, has shaped the character of the Jew as a grotesque and corrupt. However, the development and duration of this stereotype was not linear, but has changed within the changing context of Christian-Jewish relations. Although the imagery Adversus Judaeos is indisputable, it is necessary to study its mechanism and turn the attention to the existence of a variable dynamic of representations of Judaism. Visualization of the Synagogue and the Old Testament heroes points to the ambivalence of representation of Judaism in the early modern period. Special attention is diverted to the field of Jewish visual culture. Jewish art is unique, but, at the same time, is the offspring of Christian-Jewish dialogue and mutual exchange. It is the product of the Jewish spirit but also an integral segment of the European culture of the early modern era

Il bacio di Perasto by Josip Lalić

U radu se analizira slika Josipa Lalića Poljubac Perasta, nastala oko 1930. za Associazione Nazionale Dalmata u Rimu, prema njezinoj kopiji iz Muzeja grada Perasta u Crnoj Gori. Il bacio di Perasto sažima kompleksnu umjetnikovu biografiju, opus i ideološka uporišta, kao i tradiciju talijanskog historijskog slikarstva 19. stoljeća. Dok se u dijelu suvremene talijanske literature ova slika pokušava prikazati kao simbol povijesnog, ideološkog i kulturnog kontinuiteta, u ovom radu ona se tumači kao pseudopovijesni konstrukt utemeljen na političkoj agendi vremena u kojem je nastala.The paper analyzes the painting by Josip Lalić Kiss of Perast, created around 1930 for the Associazione Nazionale Dalmata in Rome, according to its copy in the Perast Museum in Montenegro. Il bacio di Perasto summarizes the artist’s complex biography, his oeuvre and ideological strongholds, as well as the tradition of Italian history painting of the 19th century. While contemporary Italian literature to a certain extent presents this painting as a symbol of historical, ideological and cultural continuity, in this paper it is interpreted as a pseudo-history construct based on the political agenda of the time in which it was created

The renaissance self

Opseg i domet renesansnih literarnih i vizuelnih formi samoiskazivanja, kako god se one danas tumačile, potvrđuju ideju renesanse kao doba stvaranja modernog sopstva. Opsežna istraživanja ukazala su da je self konstrukcija varijetet socijalnih, ekonomskih, političkih i intelektualnih sila. No, da li one mogu odrediti sopstvo u potpunosti, ili postoji i nešto neobradivo? Pisma, astrološka i alhemijska istraživanja, dramski komadi i teatar i naročito, renesansni neoplatonizam, ukazuju da je renesansno sopstvo, barem ono elitno, slobodno i otporno, snažno individualizovano. Homo humanus je usklađen sa konstruisanim ego idealom svog doba, ali je i usredsređen na gnothi seautón, svestan svoje singolarita, jedinstvene i neponovljive.The scope and accomplishment of Renaissance literary and visual forms of self-expression, regardless of the mode of their interpretation today, offer proof of the idea of the Renaissance as an age of creation of the modern self. Extensive research has indicated that selfconstruction is the product of a combination of social, economic, political and intellectu-al forces. Still, can they determine the self fully or is there also something that cannot be processed? Letters, astrological and alchemical studies, drama and theatre and, in particular, Renaissance Neoplatonism, indicate that the Renaissance self, the elite self at least, is free and resistent, strongly individualized. Homo humanus is in harmony with the constructed ego ideal of his age but he is also focused on gnothi seautón, conscious of his own singolarita, unique and inimitable

Anton Karinger, Funeral Procession of Prince Danilo of Montenegro

U radu se analizira slika Antona Karingera iz 1862. koja prikazuje ispraćaj tijela crnogorskog kneza Danila I., ubijenog u atentatu 1860. godine, iz Kotora u Cetinje. Sadržaj slike, njezini protagonisti i njihove funkcije tumače se u kontekstu političkih odnosa Austrijskog Carstva i Crne Gore u doba Danila I. Likovna struktura slike predstavljena je kao izraz onovremenih reformi historijskog i pejzažnog slikarstva.The paper discusses Anton Karinger’s painting executed in 1862, representing the funeral procession which accompanied the body of Danilo I, Prince of Montenegro, assassinated in 1860, from Kotor to Cetinje. The subject of the painting, its protagonists and their roles are interpreted in the context of political relations between the Austrian Empire and Montenegro during the reign of Danilo I, while its visual features are assessed as reflections of contemporary reforms of historical and landscape painting

Park on a lake by Hubert Robert in the National Museum in Belgrade

Slika Park na jezeru, delo francuskog slikara Ibera Robera (1733- 1808), čuva se u Zbirci strane umetnosti Narodnog muzeja u Beogradu, u fondu francuske umetnosti, od jula 1949, kada je, zajedno sa grupom umetničkih dela dopremljenih iz Nemačke, primljena na ime ratnih restitucija. Ona je, kao i celokupna Roberova umetnost, suma raznorodnih fenomena francuske vizuelne kulture XVIII veka. Utemeljena je u senzibilnoj kulturi prve polovine veka prosvetiteljskim stavovima o prirodi i estetici pitoresknog. Oni su objedinjeno, podstakli razvoj popularnih vizuelnih formi - vedute di fantasia, čiji je Rober bio dominantni francuski predstavnik. Na slici Park na jezeru predstavljen je imaginarni domen u kojem su se prožela Roberova sećanja na vrtove italijanskih renesansnih vila i njegovo iskustvo dizajnera vrtova francuske elite. Kontakti sa teoretičarima hortikulture čije je vrtove oblikovao doprineli su da Rober bude cenjen kao 'najprirodniji' kreator slika i vrtnih 'slika'. Pitoreskni šarm Parka na jezeru, podstaknut integracijom prirode i zdanja iz prošlih epoha, sugestivne i poetične forme koje pobuđuju senzitivni kapacitet posmatrača i pozivaju ga da 'dovrši' sliku svojim interpretacijama i da 'prošeta' po njoj, potvrđuju Roberovu slavnu reputaciju.The painting Park on a Lake, a work of the French painter Hubert Robert (1733-1808) has been preserved in the collection of foreign art of the National Museum in Belgrade, in the fund of French art since July 1949, when it arrived from Germany with a group of other works of art and was accepted as war restitution. Like entire Robert's art, the painting is a sum of different phenomena of French visual culture of the 18th century. It is founded on the sensitive culture of the first half of the century, as well as on the enlightenment attitudes on the nature and esthetics of the picturesque. United, they inspired the development of popular visual forms vedute di fantasia, with Robert as a dominant French representative. The painting Park on a Lake represents an imaginary domain where Robert's memories of the gardens of Italian renaissance villas intertwined with his experience of garden design of the French elite. Contacts with horticultural theoreticians whose gardens he shaped contributed to the fact that Robert was appreciated as the 'most natural' creator of paintings and garden 'paintings'. The picturesque charm of Park on a Lake was motivated by the integration of nature and buildings from the past, suggestive and poetic forms that inspire the sensitive capacity of the observer and invite him to 'finish' the painting with his interpretations and to 'walk' through it thus confirming Robert's glorious reputation

Ispitivanje vremenske sinhronizovanosti mernih signala snimljenih MEMS akcelerometrima

U radu je opisano ispitivanje sinhronizovanosti podataka koji su uzorkovani putem odvojenih MEMS akcelerometara. Korišćeni su bežični senzorski uređaji razvijeni na Građevinskom fakultetu u Beogradu, namenjeni merenju vibracija građevinskih objekata. Poznato je da ovi uređaji mogu da postignu tačnost vremenskog označavanja uzoraka reda veličine10 μs za kraće merne periode (ispodminuta). Ovo znači da je greška koju elektronika unosi zanemarljiva za merenje mehaničkih veličina sa frekvencijom uzorkovanja reda veličine kHz. Analizirane su varijacije u fazi izlaznih signala različitih senzora prilikom identične pobude. Problem je ograničena mogućnost ostvarivanja identične mehaničke pobude na različitim mestima u prostoru, te je bez savršene opreme nemoguće razgraničiti koliki deo greške potiče od nepoklapanja ulaznih signala, a koliki od nesavršenosti senzorskog aparata. Pokazano je da je moguće dobiti standardnu devijaciju vremenskog ofseta između snimljenih signala reda veličine milisekunde

Passive and active shielding against electromagnetic radiation

In nuclear physics experiments, it is very important to isolate the measured quantities from electromagnetic noise. Without this possibility, it is impossible to obtain usable experimental results since natural electromagnetic noise can be several orders of magnitude larger than the measured magnitude. In order to enable such measurements, it is necessary to eliminate electromagnetic noise from the experimental procedure. This is achieved by shielding against electromagnetic radiation. In this paper, experiments were performed to protect a room from electromagnetic noise. By applying all known methods of shielding against electromagnetic radiation, it was concluded that the room can be protected from the electrical component, but it is impossible to protect it from the magnetic component of electromagnetic radiation