Vincentiana Vol. 44, No. 3 [Full Issue]
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To Theo Van Gogh. Antwerp, on Or About Tuesday, 2 February 1886
To Theo van Gogh. Antwerp, on or about Tuesday, 2 February 1886. on or about Tuesday, 2 February 1886 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b488 a-b V/1962 Date: Van Gogh writes that the painting course ended last week; this happened at the end of January 1886. He also thanks Theo for sending the regular allowance, which almost always arrived at the beginning of the week. We have therefore dated the letter on or about Tuesday, 2 February 1886. Additional: Original [1r:1] Waarde Theo, Dank voor Uw brief en het ingeslotene. Het is iets dat mij fameus veel pleizier doet, dat gij het plan van bij Cormon te gaan nu ook zelf voorstelt. 1 Laat mij U zeggen hoe t mij hier nog verder is gegaan. De schildercursus is verl. week geeindigd, 5 daar er voor het eind van den cursus nog 1 This earlier plan is mentioned in the previous letter, letter 556. Van Gogh knew that Breitner2 had studied with Cormon3 (see letter 465) and may also have heard about him at the academy in Antwerp. Cormon opened his studio at number 104 boulevard de Clichy in 1882. While he did receive his students there, corrections were also done in the studio in rue La Bruyre. The syllabus did not differ much from that of his predecessor Lon Bonnat4. Cormons was less rigidly structured, though, and it was above all this more liberal attitude that won him a favourable reputation among a younger generation of artists. Students drew (classical) plaster casts and from life, and Cormon demanded from his students an extremely accurate, lifelike drawing. -
Guide to the Auguste Martin Collection
University of Dayton eCommons Guides to Archival and Special Collections University Libraries 7-2014 Guide to the Auguste Martin collection Follow this and additional works at: https://ecommons.udayton.edu/finding_aid eCommons Citation "Guide to the Auguste Martin collection" (2014). Guides to Archival and Special Collections. 72. https://ecommons.udayton.edu/finding_aid/72 This Finding Aid is brought to you for free and open access by the University Libraries at eCommons. It has been accepted for inclusion in Guides to Archival and Special Collections by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Guide to the Auguste Martin collection, circa 1850 to 1966 ML.028 Finding aid prepared by Jillian Slater This finding aid was produced using the Archivists' Toolkit August 06, 2014 Describing Archives: A Content Standard The Marian Library/International Marian Research Institute 300 College Park Dayton, Ohio, 45469-1390 937-229-4214 Guide to the Auguste Martin collection, circa 1850 to 1966 ML.028 Table of Contents Summary Information ............................................................................................................................. 3 Scope and Contents....................................................................................................................................... 4 Arrangement...................................................................................................................................................4 -
St. Vincent De Paul and the Homeless
WELCOMING THE STRANGER ST. VINCENT DE PAUL AND THE HOMELESS Robert Maloney, CM An earlier version of this article was published in Vincentiana 61, #2 (April-June 2017) 270-92. “There was no room for them in the inn.”1 Those stark words dampen the joy of Luke’s infancy narrative, which we read aloud every Christmas. No room for a young carpenter and his pregnant wife? Was it because they asked for help with a Galilean accent that identified them as strangers?2 Was there no room for the long-awaited child at whose birth angels proclaimed “good news of great joy that will be for all people”?3 No, there was no room. Their own people turned Mary and Joseph away. Their newborn child’s first bed was a feeding trough for animals. Matthew, in his infancy narrative, recounts another episode in the story of Jesus’ birth, where once again joy gives way to sorrow.4 He describes the death-threatening circumstances that drove Joseph and Mary from their homeland with Jesus. Reflecting on this account in Matthew’s gospel, Pius XII once stated, “The émigré Holy Family of Nazareth, fleeing into Egypt, is the archetype of every refugee family." 5 Quoting those words, Pope Francis has referred to the plight of the homeless and refugees again and again and has proclaimed their right to the “3 L’s”: land, labor and lodging.6 Today, in one way or another, 1.2 billion people share in the lot of Joseph, Mary and Jesus. Can the Vincentian Family have a significant impact on their lives? In this article, I propose to examine the theme in three steps: 1. -
Vincent De Paul and the Episcopate of France
Vincentian Heritage Journal Volume 10 Issue 2 Article 1 Fall 1989 Vincent de Paul and the Episcopate of France Pierre Blet S.J. Follow this and additional works at: https://via.library.depaul.edu/vhj Recommended Citation Blet, Pierre S.J. (1989) "Vincent de Paul and the Episcopate of France," Vincentian Heritage Journal: Vol. 10 : Iss. 2 , Article 1. Available at: https://via.library.depaul.edu/vhj/vol10/iss2/1 This Articles is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentian Heritage Journal by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Vincent de Paul and the Episcopate of France By PIERRE BLET, S.J. TRANSLATED BY FRANCES PROFFITT, D.C.* Historians of Saint Vincent de Paul, both past and present, have described how Anne ofAustria, the queen regent ofFrance, appointed the founder of the Congregation of the Mission to the Council of Conscience and thus put him in a position to have an influence on the naming of bishops. Without making any claim to utilizing new mate rial, much less exhausting the subject, I would like to clarify the matter somewhat. In this regard Pierre Coste has written: Thanks to Saint Vincent, many dioceses were governed by pastors animated with an apostolic zeal that formed a striking contrast with the worldliness of their seniors in the episcopacy. Let it suffice to name Lescot, of Chartres; Perrochel, of Boulogne; Caulet, of Pamiers; Habert, of Vabres; Bassompierre, of Oloron and then of Saintes; Liverdi, of Treguier; Sevin, of Sarlat and then of Cahors; Bosquet, of Lodeve and then of Montpellier, and Brandom, of Perigueux.' This assertion for the most part is justified. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Venerable Servant of God Vincent De Paul
DePaul University Via Sapientiae English edition Abelly, Louis 1993 Venerable Servant, Book 2 Follow this and additional works at: https://via.library.depaul.edu/abelly_english Recommended Citation Abelly, Louis. The Life of the Venerable Servant of God Vincent de Paul. Book One. Ed. by John E. Rybolt, C.M. Trans. by William Quinn, F.S.C. New York: New City Press, 1993. http://via.library.depaul.edu/ abelly_1664f/3 This Article is brought to you for free and open access by the Abelly, Louis at Via Sapientiae. It has been accepted for inclusion in English edition by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Life ofthe Venerable Servant of God Vincent de Paul Founder and First Superior General of the Congregation ofthe Mission (Divided Into Three Books) by Louis Abelly, Bishop of Rodez BOOK TWO New City Press edited by John E. Rybolt, C.M. translated by William Quinn, F.S.C. notes by Edward R. Udovic, C.M. and John E. Rybolt, C.M. introduction by Stafford Poole, C.M. index translated and edited from the Pemartin edition of 1891, with additional annotations, by Edward R. Udovic, C.M Published in the United States by New City Press 86 Mayflower Avenue, New Rochelle, New York 10801 ©1993 Vincentian Studies Institute Library of Congress Cataloging-in-Publication Data: Abelly, Louis, 1604-1691. [Vie du venerable serviteur de Dieu, Vincent de Paul. English] The life ofthe venerable servant ofGod Vincent de Paul: founder and first superior general ofthe Congregation ofthe Mission: (divided into three books) I by Louis Abelly ; [edited by John E. -
De La Collection Périgord De La Bibliothèque Nationale De France
Index des inventaires de la collection Périgord de la Bibliothèque nationale de France Manuel LORENZO ARCHIVES DEPARTEMENTALES DE LA DORDOGNE 1 La collection Périgord est un ensemble de documents originaux et de copies, concernant presque exclusivement le Périgord, conservés à la Bibliothèque Nationale de France1. Sa composition, qui recouvre tous les aspects de la recherche historique, en fait un des principaux instruments de travail pour tout chercheur œuvrant à l'histoire du Périgord. La collecte de documents originaux et le travail de copie, effectués par les différents érudits et chercheurs qui se succédèrent dans la composition de cette collection, ont abouti à constituer un fonds d'une ampleur exceptionnelle. Celui-ci comprend 183 volumes réunissant environ 51000 feuillets. Les Archives départementales de la Dordogne possèdent, sous la cote 1 Mi, les microfilms de tous les tomes, à l'exception des tomes n° 20, 21, 22, 108, 109, 111, 112 et 113, qui n'ont pas de rapport direct avec le Périgord. La recherche de documents n'est cependant pas aisée, la collection Périgord étant dépourvue de tables, et, en général, de tout classement. On peut cependant s'appuyer sur certains travaux de dépouillements et d'inventaires, et notamment ceux de Philippe de Bosredon2 et de Philippe Lauer3. Ces deux inventaires ne sont pas tout à fait complets mais restent complémentaires, l'un venant corriger les lacunes ou les imprécisions de l'autre. L'ouvrage de Lauer est complété par un index des noms de personnes et de lieux, mais celui-ci ne permet pas une recherche exhaustive et rapide sur un thème donné. -
Burning News from the Ipswich Incinerator
5467 91Burning51 News from the Ipswich Incinerator The MAY 2005 newsletter of Ipswich Little Theatre Strange ‘Times’ A young girl who was blown Wolf Lullaby is a compelling play about the disturbing subject of juvenile out to sea on a set of murderers. It asks not only why they occur but how we deal with it. inflatable teeth was rescued A small child is murdered and suspicion falls on Lizzie. Her mother by a man on an inflatable lobster. A coastguard believes her daughter could be guilty, but her father is full of denial. spokesman commented, Set in an Australian country town, this play holds up a mirror to society "This sort of thing is all too and reflects reality rather than what we’d like to see. It is a piece of drama common". The Times not to be missed! Ipswich Little Theatre, in 2005, has a relationship with the Queensland Conservatorium of Music whereby students of music composition have the INSIDE BURNING NEWS opportunity of working with directors of ILT plays to develop an original THIS MONTH: score for each play. QCM student, Raymond Lawrence, has worked with Group News Page 2 Suzanne and Liz to write a score that responds to the themes of Wolf Lullaby. This will add another interesting component to an already Vincent in Brixton Page 3 fascinating production. Selection C’tte news Page 3 Qld Poet in Residence Page 4 If you would like to support the Ipswich Arts Council, please Original image for Wolf Lullaby by Arts Alive student consider seeing Wolf Daajan Bain aged 7 (daughter of cast member Majella Gee) Lullaby on their social night – Wednesday 15 June from 7.30 pm. -
Downloaded from Manchesterhive.Com at 09/28/2021 04:25:58AM Via Free Access Chap 2 22/3/04 12:12 Pm Page 51
chap 2 22/3/04 12:12 pm Page 50 2 The most perfect state: French clerical reformers and episcopal status As a general council of the church, Trent offered a framework within which a resurgent catholicism could take shape. To a man, its delegates took it for granted that the clergy would lead the laity, and that bishops would supervise and govern all the faithful. While the conciliar decrees were designed to respond, therefore, to the specific abuses and inadequacies of contemporary religion, they drew equally on what were assumed to be eternally applicable principles of hierarchy and authority. The church had always possessed its lead- ers and its followers; that was both a practical necessity and God’s plan. Both had to be accommodated in permanent rules that would preserve the church until the end of time. While this projection of episcopal leadership was to pro- voke opposition from some quarters, many reformers rose to the challenges that it had identified by building on its platforms of hierarchy and reform. Lead- ing theologians and reformers embarked on extended explorations of what ‘reform’ meant and how it could be achieved within a hierarchical church. Their imprint could be seen before the end of the sixteenth century, but no one was to have more impact than the French reformers of the seventeenth century. This ‘school of priesthood’ developed a sacerdotal theology and training methods which were still standard sources for the formation of Catholic priests during the twentieth century; through the seventeenth and eighteenth cen- turies, its members’ understanding of the ministry was widely diffused both within and outside France and they gradually succeeded in implementing many of their aims for clerical renewal within the French church. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Van Gogh: Heartfelt Lines
Jane Van Nimmen exhibition review of Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines,” Nineteenth- Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc-artworldwide.org/ spring09/76-van-gogh-heartfelt-lines. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Nimmen: Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Van Gogh: Heartfelt Lines Albertina, Vienna, 5 September 2008 – 8 January 2009 Catalogue: Van Gogh: Heartfelt Lines Edited by Klaus Albrecht Schröder and Heinz Widauer, Sjraar van Heugten and Marije Vellekoop; with an introduction by Klaus Albrecht Schröder; with essays by Martin Bailey, Sjraar van Heugten, Fred Leeman, Teio Meedendorp, Marije Vellekoop, and Heinz Widauer. Catalogue entries by Stefanie Chaloupek, Fred Leeman, Heinz Widauer, and Denise Willemstein. Cologne: DuMont, 2008. 455 pages; 338 color illustrations, 32 b-w; bibliography Cost: €24,90 ($36, in museum); €49,90 ($73, in bookstores) ISBN: 978-3-8321-9158-0 (museum edition); 978-3-8321-9133-7 (trade edition) Van Gogh: Gezeichnete Bilder ISBN: 978-3-8321-9157-3 (museum edition); 978-3-8321-9157-2 (trade edition) “To bring the art of drawing out of quarantine” became a mission statement of the new Albertina Director Klaus Albrecht Schröder long before he re-opened the meticulously restored museum. Assuming his post at the beginning of the millennium, Schröder accelerated renovations for the palace of Albert, Duke of Saxe-Teschen (1738–1822); the building behind the opera had housed his remarkable collection for two centuries and had closed for urgent repairs in the 1990s. -
Vincent Van Gogh: Personal Tragedy, Artistic Triumph
Vincent van Gogh: Personal Tragedy, Artistic Triumph Abigail Takeuchi Junior Division Historical Paper Paper Length: 2,359 Introduction On July 27, 1890 in Auvers, France, a sharp gunshot pierced the air in a wheat field, scattering crows everywhere. Those birds were the only witnesses of Vincent van Gogh’s fatal act. They watched as Vincent limped towards the inn he was staying at, his hand covering his bleeding stomach. Dr. Gachet sent for Vincent’s brother Theo. Two days later, Vincent died in Theo’s arms, penniless and unrecognized for his creative achievement. Yet the portrait he painted for Dr. Gachet was sold in 1990 for $82.5 million dollars, the 13th highest priced artwork ever sold at that time.1 "Dying is hard, but living is harder still." Vincent said this when his father died in 1885, reflecting on his own life as a tortured artist.2 In his ten years’ pursuit for art, Vincent van Gogh suffered from poverty and madness, which influenced the subjects he chose to paint, the color, brush strokes, and the composition he used, and above all the intense feelings he expressed in his paintings. Therefore, his personal tragedy contributed to his artistic triumph, which cleared the path for Expressionism to emerge. Personal and Historical Background The 19th century saw a rise in different art movements: The Romantic Movement of the 1830s and 1840s, then Realism that extended from 1830 to 1870 with the popularity of photography, and then Impressionism.3 Impressionism was an art movement focused on 1 "Portrait of Dr. Gachet, 1990 by Van Gogh." Vincent van Gogh: Paintings, Drawings, Quotes, and Biography.