Dr. Tomasz Grusiecki, Associate Professor of Art History, Boise State 카지노게임사이트

From the 16th century onward, Jaktor贸w Forest in Mazovia, Poland, became the last refuge of the aurochs, a now-extinct species of long-horned wild cattle. Despite the Polish kings카지노 게임 컬렉션� best efforts at conservation, the last aurochs perished in 1627. This lecture examines objects made from aurochs horn, which sought to reanimate카지노 게임 컬렉션攐r at least memorialize카지노 게임 컬렉션攖hese endangered and ultimately extinct animals. The most evocative among them is a hunting horn, now at Stockholm카지노 게임 컬렉션檚 Livrustkammaren, fashioned from the horn of 카지노 게임 컬렉션渢he last aurochs,카지노 게임 컬렉션� as its inscription attests. An artistic eulogy for a lost species, the object stands at the intersection of art and environmental crisis. This and other aurochs-themed artifacts not only mediate the ecological transformations of the early Anthropocene but also invite an ecocritical reassessment of Baroque art history. Could the Baroque카지노 게임 컬렉션攐riginally a term marking the seventeenth century as a period of artistic decline, formal excess, and stylistic contamination카지노 게임 컬렉션攂e reconfigured as a lens through which to consider European art카지노 게임 컬렉션檚 response to the realities of late early modernity, accounting for both its rapid expansion카지노 게임 컬렉션攖hrough urbanization, international trade, and protoindustrialization카지노 게임 컬렉션� and its increasingly evident consequences, such as environmental degradation and various ethical dilemmas?

This lecture series is supported with the generous support of the late Alfred Bader.