ABSTRACT Title of Dissertation: PETER PAUL
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Wehrwissenschaftliche Forschung Jahresbericht 2020 20 Wehrwissenschaftliche Forschung Für Deutsche Streitkräfte
Wehrwissenschaftliche Forschung Titel JB 2020 Jahresbericht 2020 Wehrwissenschaftliche Forschung für deutsche Streitkräfte 2020 – Jahresbericht Wehrwissenschaftliche Forschung 2020 Wehrwissenschaftliche Jahresbericht – Bundesministerium der Verteidigung Bundesministerium der Wehrwissenschaftliche Forschung Jahresbericht 2020 20 Wehrwissenschaftliche Forschung für deutsche Streitkräfte 5 Vorwort 6 7 Ministerialdirigent Ralf Schnurr Unterabteilungsleiter A III und Forschungsbeauftragter Bundesministerium der Verteidigung Wehrwissenschaftliche Forschung für die Streitkräfte Die sicherheits- und verteidigungspolitischen Der Weltraum gewinnt als sicherheitspolitischer Diese Aufgaben sind jederzeit und gleichzeitig Herausforderungen Deutschlands, der EU sowie Raum zunehmend an Bedeutung. Deutschland ist wahrzunehmen. der NATO sind in den zurückliegenden Jahren wie viele andere Staaten auf den freien Zugang, größer, volatiler und komplexer geworden. die friedliche und nachhaltige Nutzung und den Alle Aufgaben der Bundeswehr sind übergreifend Schutz kritischer Infrastruktur im Weltraum ange- durch das Zusammenwirken aller Organisations- Fortschritte in der Forschung und der Entwick- wiesen. Satelliten sind sowohl im zivilen Bereich bereiche zu erfüllen. Dies kommt auch bei den lung neuer Technologien, wie z. B. in der Digitali- für Gesellschaft, Wirtschaft und Wissenschaft als Forschungsbereichen der sierung, im Bereich der Künstlichen Intelligenz, auch im militärischen Bereich für Aufklärung und – der Wehrtechnischen Forschung, unbemannter Systeme, -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Proquest Dissertations
THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
PART 1 BDV25 TWO977-25 Task 2B Delive
EVALUATION OF SELF CONSOLIDATING CONCRETE AND CLASS IV CONCRETE FLOW IN DRILLED SHAFTS – PART 1 BDV25 TWO977-25 Task 2b Deliverable – Field Exploratory Evaluation of Existing Bridges with Drilled Shaft Foundations Submitted to The Florida Department of Transportation Research Center 605 Suwannee Street, MS30 Tallahassee, FL 32399 [email protected] Submitted by Sarah J. Mobley, P.E., Doctoral Student Kelly Costello, E.I., Doctoral Candidate and Principal Investigators Gray Mullins, Ph.D., P.E., Professor, PI Abla Zayed, Ph.D., Professor, Co-PI Department of Civil and Environmental Engineering University of South Florida 4202 E. Fowler Avenue, ENB 118 Tampa, FL 33620 (813) 974-5845 [email protected] January, 2017 to July, 2017 Preface This deliverable is submitted in partial fulfillment of the requirements set forth and agreed upon at the onset of the project and indicates a degree of completion. It also serves as an interim report of the research progress and findings as they pertain to the individual task-based goals that comprise the overall project scope. Herein, the FDOT project manager’s approval and guidance are sought regarding the applicability of the intermediate research findings and the subsequent research direction. The project tasks, as outlined in the scope of services, are presented below. The subject of the present report is highlighted in bold. Task 1. Literature Review (pages 3-90) Task 2a. Exploratory Evaluation of Previously Cast Lab Shaft Specimens (page 91-287) Task 2b. Field Exploratory Evaluation of Existing Bridges with Drilled Shaft Foundations Task 3. Corrosion Potential Evaluations Task 4. Porosity and Hydration Products Determinations Task 5. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Ebook Download Greek Art 1St Edition
GREEK ART 1ST EDITION PDF, EPUB, EBOOK Nigel Spivey | 9780714833682 | | | | | Greek Art 1st edition PDF Book No Date pp. Fresco of an ancient Macedonian soldier thorakitai wearing chainmail armor and bearing a thureos shield, 3rd century BC. This work is a splendid survey of all the significant artistic monuments of the Greek world that have come down to us. They sometimes had a second story, but very rarely basements. Inscription to ffep, else clean and bright, inside and out. The Erechtheum , next to the Parthenon, however, is Ionic. Well into the 19th century, the classical tradition derived from Greece dominated the art of the western world. The Moschophoros or calf-bearer, c. Red-figure vases slowly replaced the black-figure style. Some of the best surviving Hellenistic buildings, such as the Library of Celsus , can be seen in Turkey , at cities such as Ephesus and Pergamum. The Distaff Side: Representing…. Chryselephantine Statuary in the Ancient Mediterranean World. The Greeks were quick to challenge Publishers, New York He and other potters around his time began to introduce very stylised silhouette figures of humans and animals, especially horses. Add to Basket Used Hardcover Condition: g to vg. The paint was frequently limited to parts depicting clothing, hair, and so on, with the skin left in the natural color of the stone or bronze, but it could also cover sculptures in their totality; female skin in marble tended to be uncoloured, while male skin might be a light brown. After about BC, figures, such as these, both male and female, wore the so-called archaic smile. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
Jan Lievens (Leiden 1607 – 1674 Amsterdam)
Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes. -
Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult
ΑΡΣΙΝΟΗ ΕΥΠΛΟΙΑ Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult Carlos Francis Robinson Bachelor of Arts (Hons. 1) A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2019 Historical and Philosophical Inquiry Abstract Queen Arsinoë II, the Maritime Aphrodite and Early Ptolemaic Ruler Cult By the early Hellenistic period a trend was emerging in which royal women were deified as Aphrodite. In a unique innovation, Queen Arsinoë II of Egypt (c. 316 – 270 BC) was deified as the maritime Aphrodite, and was associated with the cult titles Euploia, Akraia, and Galenaië. It was the important study of Robert (1966) which identified that the poets Posidippus and Callimachus were honouring Arsinoë II as the maritime Aphrodite. This thesis examines how this new third-century BC cult of ‘Arsinoë Aphrodite’ adopted aspects of Greek cults of the maritime Aphrodite, creating a new derivative cult. The main historical sources for this cult are the epigrams of Posidippus and Callimachus, including a relatively new epigram (Posidippus AB 39) published in 2001. This thesis demonstrates that the new cult of Arsinoë Aphrodite utilised existing traditions, such as: Aphrodite’s role as patron of fleets, the practice of dedications to Aphrodite by admirals, the use of invocations before sailing, and the practice of marine dedications such as shells. In this way the Ptolemies incorporated existing religious traditions into a new form of ruler cult. This study is the first attempt to trace the direct relationship between Ptolemaic ruler cult and existing traditions of the maritime Aphrodite, and deepens our understanding of the strategies of ruler cult adopted in the early Hellenistic period. -
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. -
Subject Indexes
Subject Indexes. p.4: Accession Day celebrations (November 17). p.14: Accession Day: London and county index. p.17: Accidents. p.18: Accounts and account-books. p.20: Alchemists and alchemy. p.21: Almoners. p.22: Alms-giving, Maundy, Alms-houses. p.25: Animals. p.26: Apothecaries. p.27: Apparel: general. p.32: Apparel, Statutes of. p.32: Archery. p.33: Architecture, building. p.34: Armada; other attempted invasions, Scottish Border incursions. p.37: Armour and armourers. p.38: Astrology, prophecies, prophets. p.39: Banqueting-houses. p.40: Barges and Watermen. p.42: Battles. p.43: Birds, and Hawking. p.44: Birthday of Queen (Sept 7): celebrations; London and county index. p.46: Calendar. p.46: Calligraphy and Characterie (shorthand). p.47: Carts, carters, cart-takers. p.48: Catholics: selected references. p.50: Census. p.51: Chapel Royal. p.53: Children. p.55: Churches and cathedrals visited by Queen. p.56: Church furnishings; church monuments. p.59: Churchwardens’ accounts: chronological list. p.72: Churchwardens’ accounts: London and county index. Ciphers: see Secret messages, and ciphers. p.76: City and town accounts. p.79: Clergy: selected references. p.81: Clergy: sermons index. p.88: Climate and natural phenomena. p.90: Coats of arms. p.92: Coinage and coins. p.92: Cooks and kitchens. p.93: Coronation. p.94: Court ceremonial and festivities. p.96: Court disputes. p.98: Crime. p.101: Customs, customs officers. p.102: Disease, illness, accidents, of the Queen. p.105: Disease and illness: general. p.108: Disease: Plague. p.110: Disease: Smallpox. p.110: Duels and Challenges to Duels.