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Peter IV of Aragon (1336–1387)
Peter IV king of Aragón (1336–1387). He was the seventh king of the Crown of Aragon, and father of Juan I (1387–1396) and Martín I (1396–1410), the last members of the dynasty to take the throne. When Martín died, the Trastámara branch occupied the throne of the kingdom. Peter IV was dazzling in his ability to use art as a tool of authority and sovereignty. With the aim of exalting the dynasty, he patronised various enterprises, among the most important of which was the abbey of Santa Maria de Poblet, which he intended to be a burial place for himself and his successors, a wish that was fulfilled, without exception, down to Juan II, the predecessor of the Catholic Monarchs. A perfectionist and zealot, he endowed important religious events with profound political significance, and promoted works of great symbolism such as the genealogy of the new saló del tinell, or the ordinacions de la casa i cort, to which he added an appendix establishing how the kings of Aragon were to be crowned. 
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  • 13 Apr 2022
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John II Komnenos (1118–1143)
John II Komnenos was the son of Emperor Alexios I Komnenos and Eirene Doukaina, and brother of Princess Anna Komnene, the author of the Alexiad. Born in 1087, he was crowned soon after his fifth birthday as co-emperor with his father, and in 1105, he was married to Piroska Árpád, daughter of King Ladislaus I of Hungary and Adelaide of Rheinfelden. He is principally known for continuing his father’s work of stabilising Byzantium after the crises of the eleventh century. This included major wars of defence and conquest in both the Balkans and Anatolia, and especially a major eastern expedition in 1137–1139. During this campaign, he conquered Cilicia, but he was recalled to defend his borders against the Turks before he could make further conquests in Syria and bring the crusader states under his aegis. He died in a hunting accident just before he returned to Syria, with intentions to go to Jerusalem as well. His best-known iconographic representation is a mosaic of him and his wife in the Great Church of Sophia. Whilst there is also an image of him in a contemporary ornate gospel book, his most common representations are found on his many coin issues and seals. 
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  • 13 Apr 2022
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Stefan Uroš II Milutin Nemanjić (1282–1321)
King Stefan Uroš II Milutin Nemanjić (1282—Donje Nerodimlje, October 29, 1321) was a Serbian medieval king, the seventh ruler of the Serbian Nemanide dynasty, the son of King Stefan Uroš I (r. 1243–1276) and Queen Helen Nemanjić (see), the brother of the King Stefan Dragutin (r. 1276–1282) and the father of King Stefan Dečanski (r. 1322–1331). Together with his great grandfather Stefan Nemanja, the founder of the Nemanide dynasty, and his grandson, Emperor Stefan Uroš IV Dušan, King Milutin is considered the most powerful ruler of the Nemanide dynasty. The long and successful military breach of King Milutin, down the Vardar River Valley and deep into the Byzantine territories, represents the beginning of Serbian expansion into southeastern Europe, making it the dominant political power in the Balkan region in the 14th century. During that period, Serbian economic power grew rapidly, mostly because of the development of trading and mining. King Milutin founded Novo Brdo, an internationally important silver mining site. He started minting his own money, producing imitations of Venetian coins (grosso), which gradually diminished in value. This led to the ban of these coins by the Republic of Venice and provided King Milutin a place in Dante’s Divina Commedia. King Milutin had a specific philoktesia fervor: He built or renovated over three dozen Serbian Orthodox churches and monasteries not only in Serbia but also in Thessaloniki, Mt. Athos, Constantinople and The Holy Land. Over fifteen of his portraits can be found in the monumental painting ensembles of Serbian medieval monasteries as well as on two icons. 
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  • 13 Apr 2022
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William II of Hauteville (1171-1189)
William II of Hauteville King of Sicily (1171–1189). William II of Hauteville was the third king of the Norman dynasty on the throne of Sicily. He ruled independently from 1171 (from 1166 to 1171 he was under the regency of his mother) to 1189. From an iconographic point of view, he is particularly interesting because he was the first king of Sicily who made use of monumental images of himself. In particular, we have five official (namely, commissioned directly by him or his entourage) representations of him: the royal bull, the royal seal, and three images from the Cathedral of Monreale (near Palermo): two mosaic panels and one carved capital.
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  • 18 Apr 2022
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Robert of Anjou (1309–1343)
Robert of Anjou King of Sicily (1309–1343). Robert of Anjou was the third king of the Angevin dynasty on the throne of Sicily. He ruled from 1309 to 1343, but, in these years, Sicily was under the domain of the Aragonese dynasty and, hence, his authority was limited to the continental land of the Kingdom and his court was mainly focused in the city of Naples. From an iconographic point of view, he is particularly interesting because, between his official representations (namely, commissioned directly by him or his entourage), he was the first king of Sicily who made use not only of stereotyped images of himself, but also of physiognomic portraits. In particular, this entry focuses on these latter items, comprising the following four artworks: Simone Martini’s altarpiece, the Master of Giovanni Barrile’s panel, the Master of the Franciscan tempera’s canvas, and the so-called Lello da Orvieto’s fresco.
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  • 13 Apr 2022
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Frederick III of Aragon (1296–1337)
Frederick III of Aragon, King of Sicily (1296–1337). Frederick III of Aragon was the third king of the Aragonese dynasty on the throne of Sicily. He ruled from 1296 to 1337 and he was the only Aragonese king of Sicily who made a significant use of his image. In particular, we have four official (namely, commissioned directly by him or his entourage) representations of him: the royal seal, the billon silver denaro coin, the lost mosaic from the Church of Santa Maria della Valle (known as Badiazza) near Messina, and the mosaic in the Cathedral of Messina.
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  • 13 Apr 2022
Topic Review
Organic Binders in Archaeological Wall Paintings
Binding media are complex materials, employed to allow pigment grains to adhere to each other and to the surface of the support, through the formation of a coherent and homogeneous film. The function of the binder consists, therefore, in keeping the pigment particles firmly together and at the same time adhering them in the form of a coherent thin film to the surface of the support. The binder must obviously be in the fluid state, in order to form with the pigments a stable, homogeneous, stretchy, and viscous dough.   For the realization of wall paintings and, in later times, for their preservation, different materials with functions of binders, adhesives, paints, protective and consolidating were and are still necessary. There is a very large class of products which can have both constitutive functions but also a function of conservation and restoration. 
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  • 21 Oct 2021
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Alphonse II of Aragon (1164–1196)
Alphonse II King of Aragon (1164–1196). He was the first king of the Crown of Aragon and son of the Queen Petronila of Aragon (1157–1164) and the count of Barcelona, Ramon Berenguer IV (1137–1162). Aware of the new political reality that he embodied as King of Aragon and Count of Barcelona, Alphonse II made significant changes to his iconography. Among the most important of these is the binomial that he incorporated to his pendent seals; that is, a portrayal of Alphonse enthroned as king on the obverse and Alphonse as count and mounted on a horse on the reverse. As a known bibliophile and as a result of his desire to reorganise his chancellery following the union of various political entities, he ordered the compilation of the Liber Feudorum Maior, the folios of which demonstrate his potestas regia through their lavish iconography. He was no less innovative in his coinage, on which he included, for the first time, the image of his head wearing the crown.
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  • 13 Apr 2022
Topic Review Peer Reviewed
Ladislaus II Jagiełło (1386–1434)
Ladislaus II Jagiełło (1386–1434). Ladislaus II Jagiełło is the founder of the Jagiellonian dynasty that had ruled over Poland and the Grand Duchy of Lithuania (until 1572), Bohemia (1471–1526) and Hungary (1440–1444, 1490–1526). A Grand Duke of Lithuania from 1377, and from 1386 a king of Poland and lord of Lithuania, which he ruled jointly with his cousin Witold (Vytautas), the son of Kęstutis. Five medieval portraits of Jagiełło survive, four of which date from the period of his reign in the Polish–Lithuanian state and one was executed posthumously. The earliest image, on Jagiełło’s Great Seal, was made in connection with his coronation as king of Poland (1386). Two portraits in the Holy Trinity Chapel at the Castle of Lublin (1418) are part of a wall paintings scheme commissioned by the monarch and executed by a team of painters brought from Ruthenia. Furthermore, the sumptuous tomb (before 1430) in Cracow was commissioned by the king. Its top slab bears an effigy of Jagiełło with his suggestively rendered countenance, which undoubtedly reflects the actual facial features of the elderly monarch. An image of the king represented as one of the Three Magi in a panel of an altarpiece in the tomb chapel of Casimir IV Jagiellonian, Jagiełło’s son and his successor on the Polish throne, dates from 1470. The chapel dedicated to the Holy Cross, erected at Cracow Cathedral, was in all likelihood commissioned by Casimir himself and his consort Elizabeth of Austria. 
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  • 13 Apr 2022
Topic Review
Australian Modernism
Australian Modernism, similar to European and American Modernism was a social, political and cultural movement that was a reaction to rampant Industrialisation, associated moral panic of modernity and the death and trauma of the World Wars. This movement was predominately a reaction of female artists towards the male dominated art style of naturalism. It is also important to note the presence of Indigenous Art during this time of modernity. Indigenous Modernism refers to the unique experience of modernity of Aboriginal people that is vastly different to the White Australians experience of Modernity. The mainstream movement began in Australia approximately in 1914 and continued until 1948. Throughout these years tensions continued between the conservative and the Avant-garde schools of thought. The years following the Second World War is when Australian Modernism gained notability in the art world of Australia. Nationalistic pastoral painting of the Australian landscape were superseded by abstracted, colourful distorted images of Modernist works. After the World Wars the dynamics of society in Australia and overseas changed dramatically causing increased acceptance and attraction towards Modernism. Social and political unrest continued due to the devastation of war and increased immigration occurred. This caused a subsequent amount of European artists to travel to Australia to live. This contributed to the introduction of further art styles to Australia such as Surrealism, social realism and expressionism. Additionally, continued technological progress in the later 20th century contributed to an increase in cubism and print making. The first Indigenous Modernist or Modern Artist is said to be the Artists Albert Namatjira. He created art that aligned with the styles and techniques of western Modernism in Australia and Europe. It was not until the 1960s and 1970s that scholars began to call Indigenous Art Modern as there was a distinction made between Modern and Contemporary art to traditional Indigenous art. However, it is argued that all types of Indigenous Art is Modernist as it is all an aesthetic expression of Indigenous experiences of modernity.
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  • 28 Sep 2022
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