All of this—authenticated and apocryphal—is monumentalized at Třeboň in Marzipan, a new museum on the town's main square.
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Removal is one response – the other is to provide, on the monument, a detailed account of what the figures monumentalized were fighting to protect.
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The realization that evidence can have a greater political impact when it is aestheticized, monumentalized, and memorialized, has redefined the potential impact of art as a political operative.
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Matta-Clark's precise geometric cavities cut into long-used buildings monumentalized their state of extended human habitation — a final architectural gesture toward these reliquaries of everyday life, of struggle and survival.
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The earliest is "A Negra," from 1923, a monumentalized cross-legged woman, situated against horizontal bands of brown, green, and blue; she could be the Afro-Brazilian cousin of a Cézanne bather.
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The estranged (dis)embodiments of dystopia are elsewhere monumentalized: Esterio Segura Mora's "Right Hand" (212), implicitly "of God," clutches a hammer; Flavio Garciandía's hyperrealist painting "She is in Another Day" (21989), a companion to "All You Need Is Love" (22013) at the MNBA, suggests ironic escapism.
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"David turned him into the representation of a collective, popular power. He took one of the favorite signs of monarchy and reproduced, elevated, and monumentalized it into the sign of its opposite.". Hercules, the image, became to the revolutionaries, something to rally around. In June 1791, the King made an ill-fated attempt to flee the country, but was apprehended short of his goal on the Austrian Netherlands border and was forced to return under guard to Paris.
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Thus, the monumentalization of the dead rulers is accompanied by regionally-specific visual motifs that bring together both Greek and Near Eastern influences. Brasidas was a successful Spartan General who won a major battle in Amphipolis during the second Peloponnesian War. After Brasidas died, the people of Amphipolis monumentalized him by cremating him, placing his ashes in a silver ossuary with a gold wreath, and burying him in a cist grave within the city walls. Sparta also dedicated a cenotaph in his honor.
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Aside from a build up of architecture, other aspects of Greek culture, such as grave markers, were also becoming monumental. A majority of sculpture during this period was more grand and celebrated triumph and the power of the Greeks as a whole community or civilization. Additionally, military monuments dedicated to the gods continued to remain prominent in Hellenistic culture. One such monument is the Neorion at Samothrace, a monumentalized ship dedication within the Sanctuary of the Great Gods at the Greek island of Samothrace.
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After the quadriporticus was destroyed, it was not rebuilt during the early Roman period, as the area may have been used as an unpaved arena for the gladiatorial fights of the temple. In the 3rd century AD, the area was monumentalized with a new ellipse-shaped theatre and a vast marble square with a monumental funerary crypt (a funerary Heroon). This coincided with the further monumentalization of the cardo maximus, which received monumental city gates in the form of arches at its southern and northern extremity.
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The Indo-Greeks are known for the additions and niches, stairs and balustrades in Hellenistic architectural style. These efforts would then continue during the Indo-Scythian and Kushan periods."De l'Indus a l'Oxus: archaeologie de l'Asie Centrale", Pierfrancesco Callieri, p. 212: "The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture".
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Closed exterior of the Auditorium of Maecenas, Esquiline The Late Republican- era room preserved on the grounds of the horti, termed the "auditorium of Maecenas" in modernity, was likely a triclinium, functioning as a private banqueting hall attached to residential quarters. The long, rectangular hall terminated with seven monumentalized, marble-clad steps in a semicircular apse. Drill-holes, accommodative of pipes, could indicate this to be the cascade fixture of a fountain. The inside of the room was doubly secluded, with an ancient ramp leading visitors to a subterranean level.
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Like the other Roman cities founded by consul Metellus, it is believed Pollentia was a Roman castra (camp) until c. 70 BC, when, according to the excavations in the forum area, the urbanization of the city was reorganized and monumentalized. Pollentia was a rich and prosperous city, whose conserved area is around 16 hectares. This area suffered a devastating fire in the 3rd century AD, but the city was not depopulated, since the construction of a fortification in the 5th century AD has been documented in the same forum.
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Stupavadana, Chapter 57, v15. Quotes in E.Seldeslachts. Evolution of the Butkara stupa, a large part of which occurred during the Indo-Greek period, with the addition of Hellenistic architectural elements. Plutarch also presents Menander as an example of benevolent rule, and explains that upon his death, the honour of sharing his remains was claimed by the various cities under his rule, and they were enshrined in "monuments" (μνημεία, probably stupas), in a parallel with the historic Buddha: The Butkara stupa was "monumentalized" by the addition of Hellenistic architectural decorations during Indo-Greek rule in 2nd century BCE.
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Stupavadana, Chapter 57, v15. Quotes in E.Seldeslachts. Plutarch also presents Menander as an example of benevolent rule, and explains that upon his death, the honour of sharing his remains was claimed by the various cities under his rule, and they were enshrined in "monuments" (μνημεία, probably stupas), in a parallel with the historic Buddha:McEvilley, p. 377 The Butkara stupa was "monumentalized" by the addition of Hellenistic architectural decorations during Indo-Greek rule in the 2nd century BC. A coin of Menander I was found in the second oldest stratum (GSt 2) of the Butkara stupa suggesting a period of additional constructions during the reign of Menander.
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Without encroaching into the surrounding space, the reliefs form an organic part of the pedestal, with the carved sections fitted with precision, while leaving the joints visible in the spirit of Egyptian monumentalized relief. The repetitive row of figures in the scene known as Warriors on the left side follows the principle of isocephaly on the model of the bas-relief depicting Assyrian archers, a motif Meštrović elaborated in relief and lithography. It evokes the bond forged by Serbian and French soldiers on the Salonika Front. On the opposite side, the more softly modelled allegory of the Sorbonne alludes to the French educational aid extended to Serbian youths during and after the war.
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It was the first of several public works that examined traditional public sculpture and its relationship to dominant power structures by translating such representations into other contexts.Decter, Joshua. "Thomas Lawson," Arts Magazine, Summer, 1989.Tedeschi, Joan. "City Statues Come to the Municipal Building," Battery News, 6 November 1989, p. 28–9. For the five-year commission, A Portrait of New York (1989), he covered a one- third mile length of scaffolding parapet during renovation of the city's Municipal Building with bright blue and orange, casually rendered imagery drawn from local civic statuary, redressing the short shrift given women and minorities in public sculpture by shuffling their images with those of monumentalized historical figures such as Alexander Hamilton, Nathan Hale and Al Smith.
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According to the musicologist John Tyrrell, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a result, Tyrrell claims, a view of Czech music has been propagated that downplays the contributions of contemporaries and successors such as Dvořák, Janáček, Josef Suk and other, lesser known, composers. This is at odds with perceptions in the outside world, where Dvořák is far more frequently played and much better known.
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Strictly speaking, there is neither a host nor a guest in Austen's country-house poem until the very end. Hesitant in her ownership of Highbury, the ambitious widow marshals the traditional topoi of the country-house genre so that her desire for elite status and her assertion of an authoritative voice—both complicated by her awareness of her gender as a potential liability in advancing her socioeconomic desires given her widowed state—become intertwined and mutually reinforcing. Austen the poet reinforces the value of the estate, which is soon to augment her status, by inscribing it within the country-house tradition alongside other celebrated, monumentalized sites; the worthiness of the estate, which will reflect upon Austen as owner, legitimates the authority and propriety of her verse. Austen's "On the Situation of Highbury" plainly demonstrates her commonality with the custom of nation house verse.
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The coins of the Greek and Scythic kings of Bactria and India in the British Museum, p. 50 and Pl. XII-7 Evolution of the Butkara stupa, a large part of which occurred during the Indo-Greek period, through the addition of Hellenistic architectural elements."De l'Indus à l'Oxus: archéologie de l'Asie Centrale", Pierfrancesco Callieri, p212: "The diffusion, from the second century BC, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture". In addition to the worship of the Classical pantheon of the Greek deities found on their coins (Zeus, Herakles, Athena, Apollo...), the Indo-Greeks were involved with local faiths, particularly with Buddhism, but also with Hinduism and Zoroastrianism.
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"The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture", in "De l'Indus a l'Oxus: archaeologie de l'Asie Centrale" 2003, Pierfrancesco Callieri, p212 Stupas were just round mounds when the Indo-Greeks settled in India, possibly with some top decorations, but soon they added various structural and decorative elements, such as reinforcement belts, niches, architectural decorations such as plinthes, toruses and cavettos, plaster painted with decorative scrolls. The niches were probably designed to place statues or friezes, an indication of early Buddhist descriptive art during the time of the Indo-Greeks."They were intended to hold a figured panel, relief-work, or something of the kind" Domenico Facenna, "Butkara I" Coins of Menander were found within these constructions dating them to around 150 BCE. By the end of Indo-Greek rule and during the Indo-Scythian period (1st century BCE), stupas were highly decorated with colonnated flights of stairs and Hellenistic scrolls of Acanthus leaves.
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"The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture", in "De l'Indus a l'Oxus: archaeologie de l'Asie Centrale" 2003, Pierfrancesco Callieri, p212 Stupas were just round mounds when the Indo-Greeks settled in India, possibly with some top decorations, but soon they added various structural and decorative elements, such as reinforcement belts, niches, architectural decorations such as plinthes, toruses and cavettos, plaster painted with decorative scrolls. The niches were probably designed to place statues or friezes, an indication of early Buddhist descriptive art during the time of the Indo-Greeks."They were intended to hold a figured panel, relief-work, or something of the kind" Domenico Facenna, "Butkara I" Coins of Menander were found within these constructions dating them to around 150 BCE. By the end of Indo-Greek rule and during the Indo- Scythian period (1st century BCE), stupas were highly decorated with colonnated flights of stairs and Hellenistic scrolls of Acanthus leaves.
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