A Study of the Martyrdom Altarpiece

"This paper will explore an unstudied fifteenth-century English alabaster altarpiece referred to as the Martyrdom Altarpiece. Based on dated and current scholarship, this analysis postulates two scenarios of the object's history. The first scenario postulates the Martyrdom Altarpiece as being commissioned by the Carthusian order. This position is based on stylistic and iconographic readings of the object that correlate with Carthusian analogs. These interpretations are strengthened by documentation sold with the Martyrdom Altarpiece during its 1978 auction sale. Scenario two argues that the Martyrdom Altarpiece's origins are not Carthusian, furthermore suggesting that the object is a composite or truncated piece"

Effects of landscape spatial heterogeneity on dryland restoration success. The combined role of site conditions and reforestation techniques in southeastern Spain

In occidental Europe, Spain is one of countries the most severely affected by desertification (Arnalds & Arsher 2000). Particularly, South-eastern Spain is considered as one of the most threatened areas by desertification in Mediterranean Europe (Vallejo 1997). In 2003, the Valencia Regional Forest Service implemented a restoration demonstration project in this area. The project site is a small catchment (25 ha) located in the Albatera municipality. The catchment is highly heterogeneous, with terraced slopes, south-facing slopes and north-facing slopes. The restoration strategy was based on planting evergreen trees and shrubs which can grow quickly after disturbances, and on field treatments aimed at maximizing water collection (micro-catchments, planting furrows), organic amendment (compost), and conservation (tree shelters, mulching). On south landscape unit, the whole category of restoration treatments was applied: water micro-catchment + Tubex tree shelters + mulching & compost, while on north landscape unit: netting tree shelters + mulching & compost only were applied, while in terrace landscape unit: furrows + netting tree shelters + mulching & compost were applied. Survival and growth of the planted seedlings were used as metrics of restoration success. To assess the effects of the treatments applied for soil conservation, soil loss rates (from 2005 to 2009) were evaluated using the erosion pin method. We conclude that, despite the limiting conditions prevailing on the south unit, this landscape unit showed the highest survival and growth plant rates in the area. The best seedling performances on the south landscape unit were probably due to the highest technical efforts applied, consisting in the water micro-catchment installation and the Tubex plant shelters addition. In addition, soil loss rates followed decreasing trends throughout the assessment period. Soil loss rates were highest on south landscape unit in comparison with the other landscape units, due to the more accentuated relief. North landscape unit and terrace unit showed a net soil mass gain, probably reflecting the trapping of sediments produced by plantation works.

Ecological gradients and landscape structure affecting seasonal woodpigeon Columba palumbus densities in a coastal region (South-East Spain)

The aim of the present study is to identify and evaluate the relationship between Woodpigeon (Columba palumbus, Linnaeus, 1758) density and different environmental gradients (thermotype, ombrotype, continentality and latitudinal), land use and landscape structure, using geographic information systems and multivariate modelling. Transects (n = 396) were developed to estimate the density of Woodpigeon in the Marina Baja (Alicante, Spain) from 2006 to 2008. The highestdensity for Woodpigeon was in September-October (1.28birds/10ha) and the lowest inFebruary-March (0.34birds/10ha). Moreover, there were more Woodpigeons in areas with a mesomediterranean thermotypethan in thermomediterranean or supramediterranean ones. There was greater densityinthe intermediate zones compared to thecoast and interior. The natural or cultural landscape had the highest Woodpigeon density (1.53birds/10ha), with both denseand clear pine forest values standing out. Therefore, it is very important to conserve these traditional landscapes with adequate management strategies in order to maintain, resident and transient Woodpigeon populations. These natural areas are open places where the Woodpigeons find food and detect the presence ofpredators. Thus, this study will enable more precise knowledge of the ecological factors (habitat variables) that intervene in the distribution of Woodpigeon populations and their density.

Sculptures by Herbert Haseltine of champion domestic animals of Great Britain / Presented to Field Museum by trustee Marshall Field.

no.13(1934)

As dicotomias peso/leveza e forma/ideia na escultura : a desmaterialização progressiva do objecto artístico

The dichotomies Weight/Lightness and Form/Idea formed the theory and the practice of Art, existing a correspondence between them. The weight exists thanks to the existence of a form that is made of matter; in the other hand, the lightness comes from the idea that is always present when the creation exists. This dichotomies were always interconnected during the centuries, and there are variations in relevancy of form and/or idea. In sculpture´s tradition, the physical weight was a essential reality, and the idea of sculpture, without the immaterial side was underlined to the form. During the centuries, new artistic approaches were born and re-born focused on the frailty, lightness and idea of the artistic object, fact that came to cancel the classic notion of work of art. The concept of image became the focus of the esthetical experience of the subject, which alone, tended to substantiate the artistic object itself. In the same way that lightness, when taken to the extreme, and despite the tridimensionality materiality of the object, begun to relate the art with the own action of the body, the gesture of the artist, rising both to the status of art

A escultura como expressão pública da cidadania : a monumentalização da cidade de Almada entre 1974 e 2013

Tese de doutoramento, Belas Artes - Especialidade de Escultura, Universidade de Lisboa, Faculdade de Belas Artes, 2016

A expressão arquitétónica na escultura moderna

This dissertation seeks to map out a route in sculptural production and artistic modernism, through the questioning of some of the different ways of approaching the concept of sculpture and architecture that were explored during the twentieth century. Based on the concepts of sculpture, architecture and space — which are proposed as a complementary perspectives to the analysis of our study object — a reflection is develop, in which explores the tension between a sculptural model and an architectural model. This research aims to identify and understand some presences of architectural expression in Modern sculpture. In this context, we will see that this has influenced other movements to the present day, but also a result of a historical situation. The relationship between sculpture and architecture has taken different forms and functions over time and the means of technological and industrial production were seen as a way of transformation of twentieth-century art. The first part of this dissertation focuses on several Modernism definition proposals. The second part presents the first vanguards proposals, and the transformations in the way of understanding sculpture. In the third part, the most current trends, which provide a reference for resolving the tension between the listed models, are addressed. Going against the linear evolution of reading, this paper proposes an interpretation that is based on the identification from a processing of the sculpture conception

Olga Elena Mattei frente al canon de la poesía colombiana de su tiempo (1962-2005)

Ce mémoire vise à placer le travail de la poète colombienne Olga Elena Mattei au sein de la poésie colombienne de son temps (1962-2005). Dans le premier chapitre, certains concepts théoriques sont définis et le terme «canon», axé sur la poésie, est synthétisé. Dans le deuxième chapitre, le paysage de la poésie colombienne de la seconde moitié du XXe siècle est défini. La stylistique des poètes les plus importants et jugés comme étant canoniques, est présentée. Dans le dernier chapitre, les particularités de la poésie de Mattei sont analysées. Il est conclu qu'Olga Elena Mattei fait partie du canon de la poésie colombienne, mais que son travail a contesté le canon dominant de celle-ci, au fil des décennies, et qu'il a été en avance sur les tendances qui émergeraient plus tard. À titre d'exemple, il est montré comment, dans les années soixante du XXe siècle, quand, en Colombie, la rime et le mètre étaient toujours hégémoniques dans la poésie, Olga Elena Mattei a osé écrire et publier en vers libres. Puis, dans les années soixante-dix, lorsque le vers libre a été accepté et il régnait à la poésie colombienne, Mattei fut la première femme à écrire anti-poésie en espagnol. Dans les années quatre-vingt, alors que l'anti-poésie était la principale tendance en Colombie, Mattei s'est consacrée à écrire de la poésie au sujet de la science, jamais réalisée auparavant en Colombie. Et, dans les années quatre-vingt-dix, lorsque le vers libre est dominant en Colombie, Mattei retourne à la rime.

Olga Elena Mattei frente al canon de la poesía colombiana de su tiempo (1962-2005)

Ce mémoire vise à placer le travail de la poète colombienne Olga Elena Mattei au sein de la poésie colombienne de son temps (1962-2005). Dans le premier chapitre, certains concepts théoriques sont définis et le terme «canon», axé sur la poésie, est synthétisé. Dans le deuxième chapitre, le paysage de la poésie colombienne de la seconde moitié du XXe siècle est défini. La stylistique des poètes les plus importants et jugés comme étant canoniques, est présentée. Dans le dernier chapitre, les particularités de la poésie de Mattei sont analysées. Il est conclu qu'Olga Elena Mattei fait partie du canon de la poésie colombienne, mais que son travail a contesté le canon dominant de celle-ci, au fil des décennies, et qu'il a été en avance sur les tendances qui émergeraient plus tard. À titre d'exemple, il est montré comment, dans les années soixante du XXe siècle, quand, en Colombie, la rime et le mètre étaient toujours hégémoniques dans la poésie, Olga Elena Mattei a osé écrire et publier en vers libres. Puis, dans les années soixante-dix, lorsque le vers libre a été accepté et il régnait à la poésie colombienne, Mattei fut la première femme à écrire anti-poésie en espagnol. Dans les années quatre-vingt, alors que l'anti-poésie était la principale tendance en Colombie, Mattei s'est consacrée à écrire de la poésie au sujet de la science, jamais réalisée auparavant en Colombie. Et, dans les années quatre-vingt-dix, lorsque le vers libre est dominant en Colombie, Mattei retourne à la rime.

The Cube

Rosenthal, Bernard (Tony), artist. Acquired 1968. Located in the Regents Plaza. Gift of the Class of 1965 and the artist, who was a UM alumnus ('36). The Cube will rotate on its axis, given a gentle push.

Law Building

Jordan & Anderson, architects. Built 1863. Northwest corner of Diagonal on corner of State and North University. Served as Law School for sixty years; contained chapel until 1873 and library until 1883. Addition built in 1893 included tower. Image includes Benjamin Franklin statue, which was gift of class of 1870. Gathering of people in photograph.

University Hall, old dome, 1873-1898

Jenison, Edward S., architect. View is from the northwest. Statue of Benjamin Franklin (gift of class of 1870) is in right foreground.

Administration Building

Harley, Ellington & Day, architects. Occupied in December 1948 by business, administrative, and public service departments, the building was designated as the Administrative Building. Exterior features Marshall Frederick's sculpture. In 1967, upon completion of the Fleming Administration Building, this building became the LS&A Building.

Administration Building Rear

Harley, Ellington & Day, architects. Occupied in December 1948 by business, administrative, and public service departments, the building was designated as the Administrative Building. Exterior features Marshall Frederick's sculpture. In 1967, upon completion of the Fleming Administration Building, this building became the LS&A Building.

Administration Building Rear

Harley, Ellington & Day, architects. Occupied in December 1948 by business, administrative, and public service departments, the building was designated as the Administrative Building. Exterior features Marshall Frederick's sculpture. In 1967, upon completion of the Fleming Administration Building, this building became the LS&A Building. Person in image.