3/6/2023 0 Comments Ann chapin iconographerThis cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. On Tuesday, January 27, Professor Dr Olga Palagia (National and Capodistrian University of Athens) will address the topic “Visualising gods in Macedonia, from Philip II to Perseus”. The lecture will be given in the library of NIA at 6.00 p.m. The last two focus on Aegean protohistory, where the image has to do without the “text”, so prominently present in the historical periods. In Greek Iconographies 2015, the first three lectures consider context and agency in the Greco-Roman world. The organizing committee of the seminar series announces lectures by Olga Palagia (sculpture and paintings), Dimitris Paleothodoros (ceramics), Eric Moormann (wall painting), Jim Wright (Mycenaean imagery) and Anne Chapin (Minoan imagery). Greek Iconographies aims to establish a dialogue by hosting specialists from different periods and regions of the Greek and Roman world. These tensions between medium, message and scholarship are central in this series of seminars. Given the importance of the use of images for their meaning, do we sufficiently consider context in our iconographic studies? Does the medium matter – does it make any difference whether images are carved in stone, engraved in coins or seals, painted on walls or drawn on vases? Have the students of the iconography of sculpture, frescoes and ceramics drifted apart, and could they perhaps learn something from each other? These frescoes and ceramics drifted apart, and could they perhaps learn something from each other? Images also share stories between cultures, periods, and times. ![]() Images have something to say about the culture to which they belong. The sun is dark and the moon red per Acts 2:19-22.The Netherlands Institute at Athens and the Belgian School of Athens launch a new lecture series: “Greek Iconographies”. On the right is the beloved disciple John and the Roman Soldier is Saint Longinus, who said “In truth this man was son of God.” At the base of the cross is Mary Magdalene with the skull in the hollow of the rock representing Adam’s skull – traditionally the Crucifixion was over the grave of Adam. To the left is the Theotokos along with other women who ministered to Christ, such as Mary of Clopas. ![]() The icon of the Crucifixion depicts the people closest to Christ present at the cross. This is intended to be a piece where you just sit and let Him gaze at you. So this is to reveal what the shroud covering His face was still hiding. Here Christ has passed through death and is entering the realm of the glorified body still physically real (not a ghost, He ate fish with the disciples). There’s constant ongoing research to figure out how the image was made, to prove it fake or genuine, but this piece was done more as the first one – as an object for contemplation. The entire image on the shroud is ‘negative’ in that the contours of the face appear correct when looking at a negative of a photo taken of the image. This canvas is an exploration of the image on the Shroud of Turin. Jesus is holding the bread from which he will take a morsel and dip it before giving it to Judas. Last Supper – John the Beloved and Christ This piece represents that moment in the Last Supper, when it says that John reclined on the bosom of Christ to ask him who would betray him. These are done in the style of German stained glass, and so the forms are completely realistic with the symbolism of the Annunciation folded in. This pair of hangings was done for the 2011 Anniversary of Church of the Incarnation in Charlottesville, VA. She’s been working on that project specifically for the past 7 or 8 years, and doesn’t ever think she will finish. ![]() The original is in the Uffizi Galleries in Florence, Italy.Īnn became Catholic in 1999 and soon after that was exposed to the iconographic tradition in the Catholic and Orthodox churches. After doing some private study with some iconographers with the Prosopon School which teaches a traditional Russian style, Ann decided to embark on an experiment to create iconographic art that is particularly suited for the Western eye. There were a few changes Ann made…she added the crown of thorns down in the bottom left, and changed the face of the Virgin Mary a little. This piece is a interpretation of the Depositiondone by Fra Bartolomeo.
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