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Robert Herrick’s Hesperides delivers a profusion of details both pleasant and disgusting. This combination serves as a way of testing the potential for sanctity in the body and in everyday life. In this essay, I compare the form of the collection, with its hundreds of miscellaneous poems, with the paintings of Pieter Bruegel the Elder. Both poet and artist present diverse miniature episodes in complex relations, and their formal and structural ambitions reveal one another in interesting ways. In both cases, with telling differences, efforts to represent and replicate the messiness of experience ask sharp questions about the reconciliation of the worldly and the godly.

The paper will discuss Pieter Bruegel's painting Landscape with the Fall of Icarus and William Carlos Williams' poem 'Landscape with the Fall of Icarus' through the conceptual lens of intersemiotic translation to explore how the poem's rendition of the painting departs from the more traditional concerns of interlinguistic translation, i.e., the focus on optimum fidelity between the source and the translated text. With a focus on the visual-verbal (a)symmetries, the paper will try to look into how intersemiotic translation between pictorial and linguistic texts throws into quandary the hierarchical relationship between source text and translated text by culling out different but complementary meanings by means of their respective significatory codes to engineer an augmentation of meaning, rather than a faithful preservation of the same.

Recently, statistical techniques have been used to assist art historians in the analysis of works of art. We present a novel technique for the quantification of artistic style that utilizes a sparse coding model. Originally developed in vision research, sparse coding models can be trained to represent any image space by maximizing the kurtosis of a representation of an arbitrarily selected image from that space. We apply such an analysis to successfully distinguish a set of authentic drawings by Pieter Bruegel the Elder from another set of well-known Bruegel imitations. We show that our approach, which involves a direct comparison based on a single relevant statistic, offers a natural and potentially more germane alternative to wavelet-based classification techniques that rely on more complicated statistical frameworks. Specifically, we show that our model provides a method capable of discriminating between authentic and imitation Bruegel drawings that numerically outperforms well-known existing approaches. Finally, we discuss the applications and constraints of our technique.

Abbas Kiarostami Introduction In the aftermath of the Iranian revolution in 1979, the national cinema of Iran emerged in response to an Islamic injunction against the voyeuristic male gaze that generated a new cinematic syntax, which amounted “to a refusal of the scopophilic codes embedded in the Hollywood tradition, and result[ed] in the introduction of distancing elements that acknowledge the presence of the spectator.” 10 The term “displaced allegory” here intimates the fact that the film-making conditions can be traced on a formal level in films made subsequent to the 1979 revolution.11 Mottahedeh further notes that the self-reflexive allegorization of cinema in Iran is particularly concerned with stylistics and is “a second-level message that could certainly accompany the narrative but that would necessarily arise on the level of form rather than from the ideological ground of the film narrative’s content.” A house window, a car window, apertures in rocks, etc. function as frames within the frame of Kiarostami’s camera. Kiarostami’s 15th shot is suffused with a growing tension between the pensive stillness of the figures who have their backs to the camera, gazing at the Eiffel Tower as the daylight grows dim, and the purpose-driven pedestrians who move in and out of the frame (see fig. 2).

Honig reviews Bruegel, an exhibition at Kunsthistorisches Museum in Vienna from Oct 2, 2018 to Jan 13, 2019.

Soviet art historiography has remained a terra incognita for Western scholars for decades. Despite recent efforts, Soviet/Russian art history remains mostly a grey zone in current scholarship and its image is still defined by the two tropes that emerged mainly from Shapiro's and Bowlt's works. Voices bringing up specific Soviet scholars and their relation to the Western European art historical narrative (such as of Zlydneva and Dmitrieva) were too feeble to provoke any noticeable paradigmatic shift in the attitude towards Socialist/Marxist writings. To enhance our understanding, I shall argue, it is worth examining Soviet art history in relation to the Vienna school, which remained much until the 1960s its closest ideological enemy and ally. And even after the introduction of the iconology to the Soviet art history, Viennese influences did not disappear but remained a kind of art historical unconscious.As I shall argue the ideas and approaches of the Viennese art historians not only heavily influenced Soviet historiography from its very beginnings but also exposed the contradictory nature of the Soviet Marxist methodological paradigm.1 I shall not address, however, another important and influential domain, namely, iconology, which made its way into the Soviet art historiography mostly due to the Thaw. The exchanges with the Vienna school received attention quite sporadically and this paper aims to fill the gap via the case of Pieter Bruegel.

Eponymic terms are now deemed inappropriate, and the term cranial-cervical dystonia should be used for the combination of blepharospasm and dystonia of other muscles of the head and neck.3,7 On the basis of the clinical features of the individual in the drawing by Giovanni Agostino da Lodi, we think that this physiognomic study of a male head represents an artistic description of cranial-cervical dystonia.

Little of historical value about crutches can be ascertained before the Middle Ages. In contrast, the Middle Ages offer many examples for the study of crutches. Even if no medical report can be found, the immense patronage of the Church, encouraging artists to portray the saints and their miracles, has left great masterpieces that drew people with crutches. Pictures and the history of medieval conceptions of disability appear to provide an interesting chronicle of surgery of the peg leg and the bent-knee peg among the representations of cripples and beggars.