DOCSLIB.ORG

Athan Or Xii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Athan Or Xii ATHAN OR XII FLORIDA STATE UNIVERSITY DEPARTMENT OF ART HISTORY ATHANORXII FLORIDASTA TE UNIVERSITYDEPARTMENT OF ART H ISTORY F<Wl!.m:AY' ,COSMIQ)'Z· Cosmic oven or Atlra,wr from Annibal Barlc1.LtVroy Cours de Physique. Paris, 1653. Cover: Michelangelo, Pieta, c. 1538-40, black chalk, 11 5/8" x 7 5/8", Isabella Stewart Gardner Museum, Boston. Manuscriptsubmission: Readers are i11vi1edt o submit manuscriprs for consideration. Aurhors should consuh !heModem La11guageAssociatio11 H andbook for Writers of Research Papers for matters of form; manuscripls should be original rypescripts wilh xeroxed phorographs and cannot be rcrumed unless accompanied by a self-addressed,sramped envelope.The Universiry assumes no responsibility for loss or damage of materials. Correspondence and manuscripts may be addressed 10 lhe Editor, ATHANOR, Depanmenl of Art Hisrory, FAB,Flo rida S1a1e University, Tallahassee,FL 32306-2037. To obtain copies: ATHANOR is publishedannua lly by 1heDepartmen1of Art History as a projecr of the Florida State UniversityMu seum of Fine Ans Press. The issues arc available for a suggested minimumdonation of$5.00 10 cover handlingand contributeto subsequentissues; please request volumes lhrough the Museum of Fine Ans, FloridaState University, Tallahassee, FL 32306-2055. The 1995 Annual An History Graduate Symposiumwill behe ld March I 0-1I; symposium papersess ions cover a wide varietyof topics. Smdents from the Southeast make presentations which frequentlybecome published essays in ATHANOR.Th e format of the symposium includes a featuredspeaker of national reputationin addition 10 the student paper sessions. For derails of date and for precis submission, please contact Professor Patricia Rose. Chairman, Departmentof Art History, Florida State University, Tallahassee, FL 32306-2037. Papers Copyright 1994by Aulhors Athanor XTI Copyright 1994by Florida State University / Tallahassee, FL 32306-2055 All Rights Reserved L.C. #8 I -68863 The essays contained in ATHANOR are articles by graduate studenL~ on topics of an history and humanities. As such, ATHANOR exists as a critical forum for the exchange of idea~and for contrast and comparison of theories and research and is disseminatedfornon-profit, educational p urposes; annotated allusions,q uotations, and visual materials are employed solely to !hat end. ATHAN OR was produced at a total cost of $4848.00 to its departmentalpubli sher, or $4.85 per copy, wirh gratefullyacknowledged in-kind d onationsof time andexpertise by the Schoolof VisualAns and Dancefacully and staff. ATHANORXII FrallfOis Bucher Foreword: From Saints to Excrements 4 WilliamTravis Points of View in Romanesque Sculpture: The Cluniac Group 9 Tania Mertvnan An Examination of Miniatures of the Office of St. Louis in Jeanne de Navarre's Book of Hours 19 Je1111iferL Fields-Crow Controlling Images: Portraits of Charles Vas Representations of His Political Agenda in Fourteenth Century France 27 Gail A. Kalli11s Mantegna's Mi11ervaOvercoming the Vices Reconsidered 35 10h11Gabriel Haddad The Sabbatarian Struggle of Michelangelo 45 Thomas Bayer Socio-economic Aspects of Netherlandish Painting during the Sixteenth Century 55 Glen11Taylor "Cloth of the Spider:" Deciphering Alfred Stevens' Intriguing "Puzzle Painting," Young Woma11with a Japa,iese Scree11 61 Betty Lou Williams Frederick Carl Frieseke Rediscovered 69 Ver/011Cary Picasso's Influence on Jackson Pollock's Late Black and White Paintings 79 Dia11aMcClintock The Art of Bessie Harvey: Her Gift of the Spirit 85 ATHANOR Xll: Fran9ois Bucher, Faculty Advisor Allys Palladino-Craig, General Editor, Museum Press Julienne T. Mason, Senior Editorial Assistant and Designer, Museum Press Kelly McCabe, Editorial Assistant, Museum Intern Typography and Design: Florida State University Museum of Fine Arts Press Printing: Gandy Printers, Inc., Tallahassee Seventeenth Ce111uryFre11ch Ship Decoratio11:Pierre Puget and Jea11Berai11, by James E. Bryan, III, won the G0nther Stamm Prize for Excellence at the 1993 Art History Graduate Student Symposium. FromSaints to Excrements "Sincesuuult1rtls are wanting everywhere nowadays. brought a blast of secular themes, allegories, emblems and a we mus, have lost ourselves in I his long soughtbr eadth tremendous surge of graphics, much of which is artistica.lly without having experienced the new dimension. In the mediocre. Financial well being and the increasingimportanceof course af lime and with the means of physics and a11as a status S)'mbol lowered the quality of portraits, house mechanics we did, in fact, achieve some astonishh,gly altars, sculptures and pouery further. All these artifacts were .tuccessful results; bw at the same time we let our still technically proficient and could, such as in the temporary psyche more or less wretchedl y wither away and go 10 triumphal arches for Maximilian I by DUrerand Hans Burgkmair, ruin, and thus obstruct other possible means of access reach the upper limits of skill and iconographic variety. to the deeper strata of Jmmtm existence lyi11gwithin From the 17th through the end of the 19th centuries the us. "-Johannes Gachnang. Introduction to the demand for privately owned art increased geometricaJI)'. Arti­ Docume111a7 catalogue (Kassel, 1982), xxviii. sans churned out copies of paintings, produced innumerable family portraits and still lives, some of which are said to have Imagine an art connoisseur around 1300 A.D. describing se,ved as appetizers in opulent dining rooms illuminated by the glorious procession of burghers carrying Duccio's Mae.,ra highly elaborate candelabras. These artifacts including bibelots altarpiece into the cathedral while loudly criticizing Dante for in ivory, polished minerals, silver and gold. were still techni­ preferring the lumbering figures of Giono which lacked even cally irreproachable and based on disciplined apprenticeships Ciroabue's or Simone Martini'scourtly elegance. Or in the or rigorous training in Academics or Ecoles des Beaux-Ans . 1450s another critic praising the enamel-like quality of the Treatises ranging from color theories, gilding, lace pauerning. Richard II portrait in the Wilton Diptych while objecting to the the rendering of any possible facial expression, appeared by the 'degrading' naturalism in Konrad Witz's Geneva altar. In both dozen. Manual s with examples for furniture design, garden cases, these critics would have missed the great movements sculplUre, beakers. ornaments and gazebos provided guidance towardadeepeningcomplexityofphysicalrealitywbichanwas to even uninspired artists and eased the choices for patrons. going to explore in the subsequent centuries. Most critics of Migrant painters found a fertile market in the colonies where 20th century art wishing to define trends within an ever increas- they added portrait faces to puppet bodies and produced works ingdisarrayofunp redictability may have missed the boat trying now prized forthe ir naive, charming ineptitude. to separate quality works from a host of irrelevant and thor- By the 20th cemury-and cena inly after the breakwater oughly inept junk art. 1913 Armory Show in New York-the industrial nations be- lt thus seems significant that the essays in the present issue came a single cultural bloc offering a global encycloped ia of of Athanor deal with solid topics and avoid artists whose artistic choices, in fact Malraux's Musee lmagi,wir e. Contacts iconography is obtuse and imagery chaotic. between intellectuals. scientists and artists speeded up. Photog- As we approach the end of the Millenium, a panoramic raphy and film, which amazingly are Still not recognized as sifting of major cultural turning points is in order. What is and perhaps the most solid and major art forms of this century, will be worth chronicling, who and what will disappear in the allowed foranevermoreprecisetransm.iss ion ofimages. Actual dust bin of history? Which highly praised works have already artifacts were shown side by side at international exhibits. world ended up in cavernous museum depolS, and what will be fairs and the rapidly emerging private galleries which evcntu• discarded by the grandchildren of fashion-struck collectors? ally took over the art "market." Einstein's theories, Freud and Finally, how does 20th century art stack up against the cultural Jung's explorations of the subconscious, the disasters of World energy of the last nine centu ries? War I, the rise of Fascism, World Warn , Viet Nam, portrayed From the beginning of the Millenium to a break around in photographs and films of corpses in muddy trenches, or rice 1500 A.D., the arts strived toward enlightenment. offering the paddies, acted as fundamenwlly unsettling forces and put into viewer specific information as well as proofs of wealth and question the traditional anthropocentric imagery with its so­ status within a relatively stable, identifiable context. All ob- cially and aesthetically clear messages. jects-be they aquamales, shields, banners (painted e.g. by the This new disconnectedness produced a frightening flood of van Eycks), tombs, stained glass, statuary-s erved a purpose, choices in which the lines between potent and decipherable be it an encouragemen t to devotion, a display of refined practi- messages understood by the intellectual elite. and an undisci­ caliry or an intent at self aggrandizement. The houses of the plined chaotic search for empty originality or totally personal burghers, the mansions of the powerful, were built to last, confessionalismbecameblurrcd . Theoriginalheadysenseofa omamentedw ithfrcscocs,tapestrie
Load more

Recommended publications
  • Geologic Map of the Victoria Quadrangle (H02), Mercury
    H01 - Borealis Geologic Map of the Victoria Quadrangle (H02), Mercury 60° Geologic Units Borea 65° Smooth plains material 1 1 2 3 4 1,5 sp H05 - Hokusai H04 - Raditladi H03 - Shakespeare H02 - Victoria Smooth and sparsely cratered planar surfaces confined to pools found within crater materials. Galluzzi V. , Guzzetta L. , Ferranti L. , Di Achille G. , Rothery D. A. , Palumbo P. 30° Apollonia Liguria Caduceata Aurora Smooth plains material–northern spn Smooth and sparsely cratered planar surfaces confined to the high-northern latitudes. 1 INAF, Istituto di Astrofisica e Planetologia Spaziali, Rome, Italy; 22.5° Intermediate plains material 2 H10 - Derain H09 - Eminescu H08 - Tolstoj H07 - Beethoven H06 - Kuiper imp DiSTAR, Università degli Studi di Napoli "Federico II", Naples, Italy; 0° Pieria Solitudo Criophori Phoethontas Solitudo Lycaonis Tricrena Smooth undulating to planar surfaces, more densely cratered than the smooth plains. 3 INAF, Osservatorio Astronomico di Teramo, Teramo, Italy; -22.5° Intercrater plains material 4 72° 144° 216° 288° icp 2 Department of Physical Sciences, The Open University, Milton Keynes, UK; ° Rough or gently rolling, densely cratered surfaces, encompassing also distal crater materials. 70 60 H14 - Debussy H13 - Neruda H12 - Michelangelo H11 - Discovery ° 5 3 270° 300° 330° 0° 30° spn Dipartimento di Scienze e Tecnologie, Università degli Studi di Napoli "Parthenope", Naples, Italy. Cyllene Solitudo Persephones Solitudo Promethei Solitudo Hermae -30° Trismegisti -65° 90° 270° Crater Materials icp H15 - Bach Australia Crater material–well preserved cfs -60° c3 180° Fresh craters with a sharp rim, textured ejecta blanket and pristine or sparsely cratered floor. 2 1:3,000,000 ° c2 80° 350 Crater material–degraded c2 spn M c3 Degraded craters with a subdued rim and a moderately cratered smooth to hummocky floor.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
    Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide
    [Show full text]
  • The Thyroid in Art
    THE THYROID IN ART Luigi Massimino SENA Clinical Pathology Faculty of Medicine University of Turin (Italy) 1 TAKE ART AND PUT IT IN SCIENCE Art and science are different aspects of human creativity. Over the centuries, artists have made use of the expressive power of images to awaken both emotions and empathy, which are often universal. 2 The thyroid gland (tireos, oblong "shield" , but which in reality meant big stone used as a door or for shutting the wooden door: cover, defend with the shield) is located in a part of the human body, i.e., in the neck, making it clearly visible in the throat when enlarged (goiter from Latin guttur). The prevalence of goiter was already known in ancient times, but the writings that described it were almost always devoid of explanatory drawings. The representation of the goiter is illustrated in the numerous depictions of goitrous men, women and children in coins, sculptures, paintings, simple craft objects and even in forms of folklore that involved persons not engaged in the medical art. The depictions were the works of artists living in endemic areas, or of travelers who illustrated the reality they encountered. The size of the goiter has always provoked amazement or fear, feelings that are associated with the mystery surrounding its origin and function. Over the centuries, it has stimulated the imagination of people, while at the same time it has paved the way to understanding the historical relationship between disease and society (pathocoenosis). 3 PATHOCOENOSIS In 1969, Mirko Drazen Grmek (1924-2000) created the neologism pathocenose or pathocoenosis , that is a “community of diseases”: “the collection of pathological states present in a given population in a certain time and space”.
    [Show full text]
  • K"'I'1'~;':~;1 ,Ivilh I the NE
    Po l All At- Read! ,IVilh K"'I'1'~;':~;1 I THE N E Lrt them Introduce our ,. lamU " paper wIth news I ,rolluct In virtually ('very I )'uurselr, your children home in thc ewnrk trad­ :nd neighbor, T ing area. 5, 1946 l 'ttBsrllty W illS Poel,r y A III(/rd To INSTALL I CONCERT REDUCTION 125 PARI(IN G GIVEN HERE I SUES 3 lN ELECTRIC METERS IIERE BY WEBSTER BUILDING LIGHT RATE IN60 DAYS ISTRING TRIO ITS E nthol'ize( II ! CeuturyC -Iuh A plications For SUI' wise Move I Hcars Progl'anl ew Cons Tllctiol Bv Conncil t 1 By IllstrnDlcntal Here In oveluhcr O ~'(·('nlhc .. Mcct I Gt'OUP M·ontlay Tot. 1 ~~21. ? OO I I Newark wi ll hAvc pilrkinl{ mcte~s : I A progr:lIn f chnmbcr music wasl Applic~tions forbu il din~ pcrmits . 1\ P l'llf 1"<11 1'f'dllct1ot1 ill t'!l'rtriL' 1j',ht withi n sixt~· clays, the To\\ n. COllnCl1 I I presentcd by the Webster T rio nt the here fell o fT during November, with I J'. t('s f · II" d("nC'Sti(' lL'('J"S in 'l'\\ .. '1'1 . derided "I its December mectll1g Mon- I James Pease I bi-wcekly meeting of thc Newark New only three being issued for a total of Irillldn~ thC' lucnl nt<' s ,Ie ill 11Il<' day nigh t 111 an unexpected rcvlval of I ' C ntury Club Monday afternoon. $2 1. 200 in new onstruction, accol·ding Iwi t!, th:lt 111 n'ect thrllll"huut the' the lon g t,l bled issue· I J ame' Peasc, young American bass- As in P" vious appeArances here, the to a report by town officials this week.
    [Show full text]
  • Collected Writings
    THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) .
    [Show full text]
  • 9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9
    9/11 and the Visual Culture of Disaster Indiana University Press Bloomington & Indianapolis 9/ and the Visual Culture of Disaster THOMAS STUBBLEFIELD This book is a publication of ∞ The paper used in this publication meets the minimum requirements of Indiana University Press the American National Standard for Office of Scholarly Publishing Information Sciences–Permanence of Herman B Wells Library 350 Paper for Printed Library Materials, 1320 East 10th Street ANSI Z39.48–1992. Bloomington, Indiana 47405 USA Manufactured in the iupress.indiana.edu United States of America Telephone 800-842-6796 Library of Congress Fax 812-855-7931 Cataloging-in-Publication Data © 2015 by Thomas Stubblefield Stubblefield, Thomas. 9/11 and the visual culture of disaster / All rights reserved Thomas Stubblefield. pages cm No part of this book may be repro- Includes bibliographical references and duced or utilized in any form or by index. any means, electronic or mechanical, ISBN 978-0-253-01549-5 (cloth : alk. including photocopying and recording, paper) – ISBN 978-0-253-01556-3 (pbk. : or by any information storage and alk. paper) – ISBN 978-0-253-01563-1 retrieval system, without permission (ebook) 1. September 11 Terrorist in writing from the publisher. The Attacks, 2001 – Influence. 2. September 11 Association of American University Terrorist Attacks, 2001, in mass media. 3. Presses’ Resolution on Permissions September 11 Terrorist Attacks, 2001, in constitutes the only exception to this art. 4. Emptiness (Philosophy) I. Title. prohibition. HV6432.7.S78 2014 973.931 – dc23 2014029044 1 2 3 4 5 20 19 18 17 16 15 For C. D.
    [Show full text]
  • Geology of the Caloris Basin, Mercury: Ysis and Spectral Ratios Were Used to Highlight the Most Important Trends in the Data (17)
    SPECIALSECTION photometrically corrected to normalized re- REPORT flectance at a standard geometry (30° incidence angle, 0° emission angle) and map-projected. From the 11-color data, principal component anal- Geology of the Caloris Basin, Mercury: ysis and spectral ratios were used to highlight the most important trends in the data (17). The first A View from MESSENGER principal component dominantly represents bright- ness variations, whereas the second principal com- Scott L. Murchie,1 Thomas R. Watters,2 Mark S. Robinson,3 James W. Head,4 Robert G. Strom,5 ponent (PC2) isolates the dominant color variation: Clark R. Chapman,6 Sean C. Solomon,7 William E. McClintock,8 Louise M. Prockter,1 the slope of the spectral continuum. Several higher Deborah L. Domingue,1 David T. Blewett1 components isolate fresh craters; a simple color ratio combines these and highlights all fresh The Caloris basin, the youngest known large impact basin on Mercury, is revealed in MESSENGER craters. PC2 and a 480-nm/1000-nm color ratio images to be modified by volcanism and deformation in a manner distinct from that of lunar thus represent the major observed spectral var- impact basins. The morphology and spatial distribution of basin materials themselves closely match iations (Fig. 1B). lunar counterparts. Evidence for a volcanic origin of the basin's interior plains includes embayed The images show that basin exterior materials, craters on the basin floor and diffuse deposits surrounding rimless depressions interpreted to be including the Caloris Montes, Nervo, and von of pyroclastic origin. Unlike lunar maria, the volcanic plains in Caloris are higher in albedo than Eyck Formations, all share similar color proper- surrounding basin materials and lack spectral evidence for ferrous iron-bearing silicates.
    [Show full text]
  • Report on the Implementation of 2018 Action Plan of the State Strategy for Civic Equality and Integration
    Report on the Implementation of 2018 Action Plan of the State Strategy for Civic Equality and Integration Office of the State Minister of Georgia for Reconciliation and Civic Equality Report on the Implementation of 2018 Action Plan of the State Strategy for Civic Equality and Integration Tbilisi 2019 2 Report on the Implementation of 2018 Action Plan of the State Strategy for Civic Equality and Integration Office of the State Minister of Georgia for Reconciliation and Civic Equality Address: 7 Ingorokva Street, Tbilisi, 0114 Phone: (+995 32) 2923299; (+995 32) 2922632 Website: www.smr.gov.ge E-mail: [email protected] 3 Report on the Implementation of 2018 Action Plan of the State Strategy for Civic Equality and Integration Introduction ................................................................................................................................................... 5 Resume - Overview of Implementation of Strategic Goals ............................................................................ 6 Strategic Goal 1............................................................................................................................................... 9 Equal and Full Participation in Civic and Political Life ................................................................................. 9 Strategic Goal 2..............................................................................................................................................34 Creating Equal Social and Economic Conditions and Opportunities .............................................................34
    [Show full text]
  • La Atmósfera.Pdf
    La atmósfera. De lo pictórico al arte multidisciplinar. Tesis doctoral realizada por: Marta Díaz Villoslada dirigida por: Ignacio Barcia Rodríguez Departamento de Escultura Facultade de Belas Artes de Pontevedra Universidade de Vigo Septiembre 2013 A mi padre “Hé aquí La Atmósfera, el aire luminoso, la primera divinidad amada y temida sobre la tierra; el Dyauss del Sanscrito, el Zeus de los griegos de Atenas, el Dies y el Deus de los latinos; el padre de los mismos dioses, el Zeus-pater! El AIRE, en fin, en que todo vive y todo respira. La Atmósfera rodea á nuestro planeta de un fluido vivificador.(…) El globo que acabamos de considerar circundando en el espacio en alas de la gravitación universal, está cubierto de una capa gaseosa que se adhiere á toda su superficie esférica. Esta capa fluida se encuentra uniformemente repartida alrededor del globo que la circunda por todas partes.” Camille Flammarion, La Atmósfera (págs. XV y 10) La atmósfera. De lo pictórico al arte multidisciplinar. 9 INTRODUCCIÓN 23 I. ESPACIO · VUELO LOS FONDOS DORADOS · LUZ COMO SIMBOLOGÍA DE LO ESPIRITUAL ESCULPIR LA LUZ UN ARTE INVISIBLE DISTANCIA 105 II. INFINITO · LÍMITE REPRESENTACIÓN PLÁSTICA DEL INFINITO LO SUBLIME EL AIRE ES LO QUE SE INTERPONE 133 III. TIEMPO Y ÉTER CAMINO HACIA LA ABSTRACCIÓN 169 IV. LO OCULTO · LO VELADO FOTOGRAFÍA Y HALO LO PICTÓRICO EN EL CINE 201 V. NUEVAS PERSPECTIVAS DEL TIEMPO Y EL ESPACIO · LA ERA DIGITAL VIDEOARTE. PERCEPCIONES ATMOSFÉRICAS NUEVOS REGISTROS DE LO PICTÓRICO ALGUNAS MANIFESTACIONES DEL AIRE 243 CONCLUSIONES 255 BIBLIOGRAFÍA 9 INTRODUCCIÓN La existencia de lo que se podría denominar lo atmosférico en la obra de arte, es decir, la preocupación por la presencia del aire que todo lo envuelve y circunda, o que provoca un ambiente determinado en una obra, es el punto de partida de este trabajo.
    [Show full text]
  • Volume 16, Number 1
    SHARP News Volume 16 | Number 1 Article 1 Winter 2007 Volume 16, Number 1 Follow this and additional works at: https://scholarworks.umass.edu/sharp_news Recommended Citation (2006) "Volume 16, Number 1," SHARP News: Vol. 16: No. 1. Available at: https://scholarworks.umass.edu/sharp_news/vol16/iss1/1 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in SHARP News by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. et al.: Volume 16, Number 1 A SHARPNEWS - Volume 16, Number 1 Winter 2007 SHARP CONSTITUTION7 SHARP MINNESOTA2007 t Cffcctive 1 January 2007, the Johns Proposed Revisions to the 1993 Open the Book Hopkins University Press will be handling our memberships and subscription SHARP Constitution Open the Mind fulfillment. The Executive Committee chose 11-15 July 2007 JH1JP after careful and lengthy research; the Submitted for SHARP merxlbership Unirjersity of Mnnesota, Mnneapolis, USA Press has an excellent record of serving approval in 2007 other organizations, similar to ours, in simi- It's still not to late to book your place at lar ways. We have become too large for ad- On pages 3-5 of this issue of SHARP the fifteenth annual SHARP conference. The ministrative services to be handled by a vol- Nem, you will find a copy of the proposed conference theme highlights how books unteer. Barbara Brannon has been that he- revisions to the 1993 SHARP Constitution. develop and extend minds and cultures, and roic and faithful volunteer for many years; In addition, we havc provided a ballot to also how they are opened to new media and now the hfembership Secretar): will be freed vote 'yes' in favour of the revisions or 'no' new purposes.
    [Show full text]
  • Annual Report 2005
    NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A.
    [Show full text]