Identification of a possible engraved Venus from Předmostí, Czech Republic

One Gravettian feminine representation – the schematic Venus of P?edmostí – is so different from all the others that it has always been regarded as unique. The engraving, which was closely examined for the purpose of comparison in this study, represents a woman composed of geometric shapes, including a triangular head with interior lattice-work, concentric ellipses for the breasts, belly and pelvis, a double ladder for the remaining arm, hatch marks, and a thigh made up of parallel vertical lines. This article presents the discovery and discusses the authenticity of a second, feminine anthropomorph engraved on a bone shaft fragment, which is labelled as coming from the same site and is highly similar to the one described at the end of the nineteenth century. The modern history of P?edmostí reveals that the site was used as a quarry for the extraction of loess and limestone, and that tons of mammoth bones were extracted to produce spodium. Remarkable objects that were found both during early archaeological excavations and the site’s commercial exploitation went towards private collections. The history of the piece under study traces it back through a succession of owners to the collection of René de Poilloüe de Saint-Périer (b.1877–d.1950) and Raymonde-Suzanne de Saint-Périer (b.1890–d.1978). The engraving is on the periosteal surface of a limb bone from a very large mammal, probably a proboscidian. Microscopic analysis of the bone surface and engravings identify the chronology of the grooves and their relations to the stages of the bone’s alteration and fracturing, starting with: 1) heavy weathering of the bone surface that produced longitudinal cracks, which probably led to its breakage, 2) engraving of the feminine representation, 3) intense mechanical and chemical attacks that smoothed all of the bone’s surfaces and wore down the engravings, 4) covering with a consolidation agent, and, most recently, 5) some abrasion, which resulted in the creation of a few straight lines. Since no evidence is found to suggest that the highly worn appearance of the engravings composing the feminine representation resulted from modifications that were meant to artificially age the periosteal surface of the bone, we conclude that the engraving can be plausibly attributed to the Gravettian and that further analyses are warranted.     

New Ireland Malanggan Art: A Quest for Meaning

ABSTRACT Sustained scholarly interest in the malanggan carvings of New Ireland has achieved consensus regarding the social, political, and economic functions of the ceremonies in which they are used but inconclusive interpretations of the iconography of the art objects themselves continue. This paper finds an interpretation of recurring motifs in a reexamination of early reports, published and unpublished, of former burial customs. The perspective presented here supports but cannot confirm informants' insistence that the carvings are not religious but just pictures. No conclusions are reached regarding pre‐ or post‐Christian beliefs in general, but doubt is cast on their role in malanggan art. Some theoretical implications and further research directions are suggested.     

Using 3D scanning in the investigation of Upper Palaeolithic engravings: first results of a pilot study

This paper deals with the reinvestigation of selected engravings on slate plaquettes from the Late Upper Palaeolithic site of Gönnersdorf, Germany, by applying new 3D scanning methods for the first time. The aim of this method is to obtain further information about stylistic aspects of the depictions as well as to identify an inner chronology and interrelationship of the lines. In addition new options of 3D photography are tested as a further visual support of investigation and documentation. Previously analyses were subjective whereas the new interpretation uses impartial metric methods. In the future the more objective results will allow the comparison of engravings and their details, with the aim of discerning different artists as well as obtaining a better understanding of the art of former hunter- gatherer societies.     

An iconographic exploration of the “rattlesnake” gorgets of eastern Tennessee

ABSTRACT

Compared to other gorget styles and themes made during the Mississippian period, the so-called rattlesnake gorgets of eastern Tennessee have been found in fairly large numbers. Stylistically, Muller assigned these gorgets to the temporally related Lick Creek and Citico styles, while Crawford’s recent work has argued for substyles within. While their style has been studied extensively, the idea that these gorgets depict rattlesnakes generally has been accepted without further consideration. In this paper, we present the results of a systematic iconographic study of rattlesnake gorgets. Ultimately, we conclude that the image’s original referent is not just a snake but instead is intended to be a model of the cosmos at night.     

Distinguishing different types of early 17th-century Dutch Jacht and Ship through multivariate morphometric analysis of contemporary maritime art

In research to reconstruct the design of a small Dutch vessel of c . 1600, morphometric analysis of ship iconography proved very useful. Both uni-variate and multi-variate modes of statistical analysis, as used in this research, are described and discussed. Four classifications of three-masted, square-rigged Dutch sailing vessels—ships, jachts, large jachts and small jachts—were shown to be clearly distinguished types in the multi-variate data space.     

Grace Mildmay and the painted glass window in the Mildmay chapel at St Leonard’s church,Apethorpe, Northamptonshire

?????The 1621 painted glass window in the Mildmay chapel of St Leonard’s church, Apethorpe, Northamptonshire, belongs to the revival of figurative glass in churches during the first half of the seventeenth century. Its four subjects, the Fall of Adam and Eve, Christ’s crucifixion and resurrection, and the Last Judgement, express orthodox reformed belief in original sin and salvation only through faith in Christ’s saving grace. But the window’s design and unusual iconographic details are atypical of the period. Theme and imagery closely parallel sixteenth-century bible illustrations and both can be understood in relation to the volume of meditations compiled over her lifetime by Grace, Lady Mildmay, who was the patron of the chapel. The paper argues for her close involvement in the evolution of the imagery; the window can be seen as a visual equivalent of her meditations, and expresses her preoccupation with sinfulness, redemption, resurrection, and the afterlife.     

John Hewitt’s curatorial eye: art and poetry in the municipal galleries

ABSTRACT

This article examines the art writing of the poet, critic, and curator John Hewitt in mid-twentieth century Ireland and Northern Ireland. Hewitt’s promotion of modern art and artist collectives in Ulster through shifting definitions of internationalism and regionalism will be linked to the art writing of Herbert Read and the late poetry of W.B. Yeats. Taking an interdisciplinary approach to Hewitt’s poetry and art writing reveals the sustained imbrication of politics, poetry and the visual arts in his thinking. Hewitt’s ottava rima poem in response to Yeats, “The Municipal Gallery Revisited, October 1954”, will be reassessed with recourse to the context of the Municipal Gallery in Dublin and its mid-century sculpture collections. By identifying artworks within the Municipal Gallery poem, the article illustrates Hewitt’s broader dialogues with the late Yeats and the art scene in Ireland.