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The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
April 22, 2018 Fourth Sunday of Easter
April 22, 2018 Fourth Sunday of Easter Page 2 “The Good News” - St. Anastasia Catholic Church, Troy 248-689-8380 Sunday, April 22, 2018 Masses: 8:15 AM, 10:15 AM, 12:15 PM, 5:00 PM Children’s Liturgy: during 10:15 Mass Friday, April 27, 2018 9:15/11:15 AM Coffee & Donuts Benediction: 9:15 AM 10:00 AM Catechesis of the Good Shepherd Mass: 9:30 AM (Fr Blondell) 1:45 PM Baptism 9:00 AM Rosary 6:30 PM BASIC Night (High School Youth Ministry) 10:00 AM Homeschool Open Gym 7:00 PM Rosary for Peace 10:00 AM Prayer Series – Spanish 10:30 AM Guadalupano Group Monday, April 23, 2018 1:00 PM Senior Fit Mass: 9:30 AM funeral (Fr Steve) 6:30 PM Religious Ed End of Year Family Night 9:00 AM Rosary 10:30 AM Exposition of the Eucharist Saturday, April 28, 2018 1:00 PM Senior Fit Masses: 4:00 PM, (Fr Blondell) 6:30 PM Stephen Ministry Peer Supervision 6:00 PM (Spanish) (Fr Medina) Exposition of the Eucharist throughout day and night Reconciliation: 3:00 PM, 5:15 PM (Spanish) 9:00 AM Kids Guitar Course Tuesday, April 24, 2018 9:00 AM KofC St. Moses Food Drive Mass: 7:00 AM (Fr Greg) 10:00 AM Spanish Religious Ed – Adults & Children Reconciliation: 6:00 PM 10:00 AM Prayer Series – S panish Sunday, April 29, 2018 1:00 PM Red Cross Blood Drive Masses: 8:15 AM, 10:15 AM & 12:15 PM (Fr Greg), 7:00 PM Knights of Columbus Social 5:00 PM (Fr Anthony Camilleri) 7:30 PM Celebration Singers Rehearsal Children’s Liturgy: during 10:15 Mass Exposition of the Eucharist throughout day and night 9:15/11:15 AM Coffee & Donuts 10:00 AM Catechesis of the Good Shepherd Wednesday, April 25, 2018 1:30 PM Knights of Columbus Rosary Mass: 9:30 AM (Fr Greg) 6:30 PM BASIC Night (High School Youth Ministry) 8:00 AM Men’s Bible Study 7:00 PM Rosary for Peace 9:00 AM Rosary 10:30 AM Matinees with Fr. -
The Last Supper Seen Six Ways by Louis Inturrisi the New York Times, March 23, 1997
1 Andrea del Castagno’s Last Supper, in a former convent refectory that is now a museum. The Last Supper Seen Six Ways By Louis Inturrisi The New York Times, March 23, 1997 When I was 9 years old, I painted the Last Supper. I did it on the dining room table at our home in Connecticut on Saturday afternoon while my mother ironed clothes and hummed along with the Texaco. Metropolitan Operative radio broadcast. It took me three months to paint the Last Supper, but when I finished and hung it on my mother's bedroom wall, she assured me .it looked just like Leonardo da Vinci's painting. It was supposed to. You can't go very wrong with a paint-by-numbers picture, and even though I didn't always stay within the lines and sometimes got the colors wrong, the experience left me with a profound respect for Leonardo's achievement and a lingering attachment to the genre. So last year, when the Florence Tourist Bureau published a list of frescoes of the Last Supper that are open to the public, I was immediately on their track. I had seen several of them, but never in sequence. During the Middle Ages the ultima cena—the final supper Christ shared with His disciples before His arrest and crucifixion—was part of any fresco cycle that told His life story. But in the 15th century the Last Supper began to appear independently, especially in the refectories, or dining halls, of the convents and monasteries of the religious orders founded during the Middle Ages. -
The Development of Marian Doctrine As
INTERNATIONAL MARIAN RESEARCH INSTITUTE UNIVERSITY OF DAYTON, OHIO in affiliation with the PONTIFICAL THEOLOGICAL FACULTY MARIANUM ROME, ITALY By: Elizabeth Marie Farley The Development of Marian Doctrine as Reflected in the Commentaries on the Wedding at Cana (John 2:1-5) by the Latin Fathers and Pastoral Theologians of the Church From the Fourth to the Seventeenth Century A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctorate in Sacred Theology with specialization in Marian Studies Director: Rev. Bertrand Buby, S.M. Marian Library/International Marian Research Institute University of Dayton 300 College Park Dayton, OH 45469-1390 2013 i Copyright © 2013 by Elizabeth M. Farley All rights reserved Printed in the United States of America Nihil obstat: François Rossier, S.M., STD Vidimus et approbamus: Bertrand A. Buby S.M., STD – Director François Rossier, S.M., STD – Examinator Johann G. Roten S.M., PhD, STD – Examinator Thomas A. Thompson S.M., PhD – Examinator Elio M. Peretto, O.S.M. – Revisor Aristide M. Serra, O.S.M. – Revisor Daytonesis (USA), ex aedibus International Marian Research Institute, et Romae, ex aedibus Pontificiae Facultatis Theologicae Marianum, die 22 Augusti 2013. ii Dedication This Dissertation is Dedicated to: Father Bertrand Buby, S.M., The Faculty and Staff at The International Marian Research Institute, Father Jerome Young, O.S.B., Father Rory Pitstick, Joseph Sprug, Jerome Farley, my beloved husband, and All my family and friends iii Table of Contents Prėcis.................................................................................. xvii Guidelines........................................................................... xxiii Abbreviations...................................................................... xxv Chapter One: Purpose, Scope, Structure and Method 1.1 Introduction...................................................... 1 1.2 Purpose............................................................ -
SERMON- Palm Sunday (B) Good Shepherd Charles R
SERMON- Palm Sunday (B) Good Shepherd Charles R. Cowherd March 28, 2021 Mark 11:1-11 Psalm 118:1-2, 19-29; Philippians 2:5-11 or Mark 15:1-39, [40-47] Psalm 31:9-16 OPENING: Earlier this month, our very own Good Shepherd Players performed (online) the stage play, And Then There Were None, based on Agatha Christie’s famous 1939 novel. I enjoyed their rendition so much that I rented the recent BBC movie version from the library and watched it as I prepared for this Sunday and for Holy Week. It’s an interesting pairing. I am not an expert on Agatha Christie, but I know that her faith permeated her work. Throughout, there is the idea of a moral universe, a particularly Christian one, where good and evil exist and compete. Famously, with Christie, that meant that even the buttoned-up English countryside was rife with sin. She also expanded the genre by emphasizing that humanity’s sinfulness is so profound that even the great detectives and crime solvers of her books cannot restore the world to a state of goodness. Salvation, thus, always lies outside of ourselves.1 This all makes good Lenten reading, and especially today, as we get to the height of Palm Sunday and then the depths of Christ’s Passion. Getting back to And Then There Were None, Steve McBride infamously gave away its ending during announcements one Sunday by revealing that, quote: “Everyone dies in the end.” He later protested that that fact was, you know, in the title in the first place. -
THE WEDDING FEAST at CANA (Jn 2:1-11)
THE WEDDING FEAST AT CANA (Jn 2:1-11) By Jim Seghers John‟s ostensibly simple narrative of the wedding feast at Cana explodes in layers of meaning when it is examined in faith. This reflection proposes to offer some insights that may deepen your understanding and stimulate your discoveries in this rich passage. It is no accident that John begins his Gospel with the identical words that open the Bible: “In the beginning” (Gen 1:1). In the first chapter of Genesis the emphasis is on the ascending order of creation culminating in formation of Adam and Eve on the sixth day. In the recapitulation in second chapter of Genesis the emphasis shifts to the covenant God established with his favorite creatures to whom God gave dominion over the earth. This covenantal relationship is depicted in the Bible as a family bond or a marriage. In the first chapter of John‟s Gospel the evangelist lays out a literary new creation week. On the first day the Word who is God is depicted as coming to make a “new creation” (2 Cor 5:17). He is both “life” and the “light of men” paralleling the first day of creation in Genesis when God said: “Let there be light” (Jn 1:4; Gen 1:3). The first three days of John‟s literary creation week are laid out as follows: First Day: Jn 1:1-34 Second Day: Jn 1:29-34 beginning with the words: “The next day.” Third Day: Jn 1:35-42 beginning with the words: “The next day.” Fourth Day: Jn 1:43-51 beginning with the words: “The next day.” Seventh Day: Jn 2:1-11 wedding at Cana Chapter two introduces the marriage at Cana with the words: “On the third day” (Jn 2:1). -
Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527
RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces. -
The Last Supper’ by Leonardo Da Vinci
‘The Last Supper’ by Leonardo da Vinci Background Information This fresco called ‘The Last Supper’ was painted by Leonardo da Vinci on the wall of a monastery’s dining hall in Santa Maria delle Grazie in Milan, Italy, during the 16th century. Unlike other frescoes, it was painted when the wall was dry, not wet, using tempera paint. This has meant that the painting has deteriorated a lot over time. It has been extensively restored for that reason. It is believed that it took over three years for it to be completed. The fresco measures over eight metres in width and over 4 metres in height. Take a look at the following labels. See if you can link them into the correct part of the painting using the clues given. Draw a line between each one to the correct part of the painting to do this. Judas, it is believed, is Jesus is the focal point of seated to Jesus’ right the painting. His arms, head hand side. Can you see and body make a triangular the bag of silver in his shape. hand? The doors behind Jesus show There are twelve figures with us the outdoors. This draws Jesus in the painting. They our attention to Jesus even are seated in groups of three. more and gives the painting What were these twelve perspective. people usually called? Page 1 of 4 visit twinkl.com Questions What food and drink can you see on the table? How many feet can you count underneath the table? Does this match with the amount of figures in the painting? Imagine you are present in the room during The Last Supper. -
Book of John John 1 1. Finish This Quote from John 1:1: “In
Book of John John 1 1. Finish this quote from John 1:1: “In the beginning was the ________ and the ___________ was with God and the _________ was God.” WORD 2. According to John 1:1-2, who was “in the beginning with God”? THE WORD (JESUS) 3. Who was sent to bear witness of the Light (Jesus)? JOHN 4. According to John 1:12, to whom did Jesus give power to become the sons of God? AS MANY AS RECEIVED HIM (EVEN TO THEM THAT BELIEVE ON HIS NAME) 5. Who gave the Law, according to John 1:17? MOSES 6. According to John 1:17, grace and truth came by whom? JESUS CHRIST 7. According to John 1:19-20, who did the Jews send to John to ask him who he was? PRIESTS AND LEVITES 8. Where were these Priests and Levites from? JERUSALEM 9. Who did John tell the Priests and Levites that he was, according to John 1:23? THE VOICE OF ONE CRYING IN THE WILDERNESS 10. What Prophet did John quote when he said, “Make straight the way of the Lord”? ESAIAS (ISAIAH) 10. Of what religious group were the Priests and Levites that questioned John the Baptist in John 1? (PHARISEES, Saducees, or Scribes) 11. In what river did John baptize? JORDON RIVER 12. In what city was John when he was questioned of the Priests and Levites? BETHABARA 13. What did John say when he saw Jesus coming? (word for word, according to John 1:29) BEHOLD THE LAMB OF GOD WHICH TAKETH AWAY THE SIN OF THE WORLD 14. -
The Un Vers Ty Pr
THE UNVERS TY PR NTS 19 IS S UE NO V. 1 . 10 S UP E R S E D I N G A L L P RE VI O US C ATALOGUE S BU R E A U O F UNI VE R S I T ' Y T R AVE L I N B M C H U E T TR ITY P LAC E O STO N. ASSA S T S P oints to be noted in ordering The University P rints P LEASE READ C AREFULLY T his cat al ogue contains a complete list of all the reproductions we T he price of the p rints is one c ent each or eighty cents per hundred. i t ith t he acc an in hand Complete set s of 5 00 pr n s w omp y g book, ' S cial disc nt ofiered sch s or H andbooks separately, pe ou to ool it cl ubs ordering in qu ant y. E ach rie is ish d in nd f r sam st as O lin s and se s publ e bou o m, e yle ut e H and for li rar use. P ric er l the sa as for book, b y e p vo ume, me i unbound ser es. No order for less t han t wenty-five prints will be sent u nless with other goods. A n rd r l an is ncl d it h er a u o e b k e ose w ev y catal ogue . -
Piero Della Francesca
the cambridge companion to Piero della Francesca Edited by Jeryldene M. Wood University ofIllinois, Urbana-Champaign published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Fairfield Medium 10.5/13 pt. System QuarkXPress® [GH] A catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The Cambridge companion to Piero della Francesca / edited by Jeryldene M. Wood. p. cm. – (Cambridge companions to the history of art) Includes bibliographical references and index. isbn 0-521-65254-5 – ISBN 0-521-65472-6 (pbk.) 1. Piero, della Francesca, 1416?–1492 – Criticism and interpretation. 2.Art, Renaissance – Italy. 3. Art, Italian – 15th century. I. Wood, Jeryldene. II. Series. ND623.F78 C26 2002 759.5 – dc21 2001043485 isbn 0 521 65254 5 hardback isbn 0 521 65472 6 paperback I. Encyclopedias and dictionaries ag5.c26 1990 031-dc20 isbn 0 521 39538 3 hardback isbn 0 521 39539 3 paperback Contents List of Illustrations page vii Acknowledgments xiii Contributors xv Introduction 1 Jeryldene M. -
Title a New Proposal on the Chronological Order of the Moses
Title A new proposal on the chronological order of the Moses and Christ frescoes in the Sistine Chapel Sub Title システィーナ礼拝堂装飾壁画の 〈モーセ伝〉 と 〈キリスト伝〉 連作の制作順序について Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2019 Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.34 (2019. ) ,p.1- 26 Abstract Notes 挿図 Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10065043-2019063 0-0001 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel 1 A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel Fumika Araki Introduction In 1481, Pope Sixtus IV della Rovere (papacy: from 1471 to 1484) invited four Umbrian and Florentine painters, Pietro Perugino (c. 1450–1523), Cosimo Rosselli (1439–1507), Domenico Ghirlandaio (1449–1494) and Sandro Botticelli (c. 1445– 1510), to Rome to decorate the entire walls of the pontifical chapel taking his name, the Sistine Chapel [Fig. 1]. These painters were considered to be the most skillful artists at that time and all of them had already managed their own workshop. The walls of the chapel were horizontally divided into three registers [Fig.