DOCSLIB.ORG

P19 Layout 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
P19 Layout 1 Established 1961 Lifestyle THURSDAY, JUNE 27, 2019 People visit an immersive exhibition about Vincent van Gogh in Beijing.—AFP seduction scene that some feminists critics now say raises questions of consent. They argue that the woman in the scene appears to be resisting the young man as he bolts shut the bedroom door. ‘No limit on budgets’ Touhami told AFP that he wanted to gather the very best noses for the job. “It is about adding an olfactory dimension to a visual experience. I chose eight par- fumeurs, all stars and gave them 100-percent freedom, he was one of the great beauties of antiquity, and with no limit on their budgets,” he added. Dorothee Piot, soon we are going to find out what the “Venus de who works for Robertet house in the French perfume capi- S tal of Grasse, chose Gainsborough’s 1745 masterpiece. “I Milo” smells like. The Louvre in Paris has asked two of France’s top “noses”-otherwise known as perfume cre- wanted to create something fresh and delicate to go with ators-to come up with fragrances to go with some of its their bucolic exterior scene,” she said of the self-portrait greatest treasures. Ramdane Touhami and Victoire de of the artist with his wife Margaret in a Elysian English Taillac roped in some of the biggest stars of the olfactory landscape. universe to help them find the right notes to go with stat- “I loved the candour and the grace of the two of them, ues of the goddess of love as well as the “Winged Victory so I came up with a perfume inspired by roses that have of Samothrace”. The pair, founders of the Officine just come out surrounded by greenery,” she told AFP. Universelle Buly perfumerie, were also asked to pair fra- Museum spokesman Adel Ziane said the idea of the per- grances with Ingres’ two most sensual works, the “Grande fumes was “to help wake all the senses of visitors as they Odalisque” and “The Valpincon Bather” as well as view the work at the Louvre. “I think that the scents have Gainsborough’s “Conversation in a Park”. a lot to say on the collections, particular the ancient But for now there will be no perfume for “Mona Lisa”- works,” he said. The eight different fragrances will be the museum’s most famous work-who will guard her fra- uncorked and will also go on sale at the pop-up shop from grance, like so much else, secret. Controversially, among July 3 until January next year. — AFP the paintings chosen is Fragonard’s “The Bolt”, the famous In this file photo a rescue dog from the Mexican Navy, Frida, A rescue dog from the Mexican Navy, Frida, takes a break and her trainer Israel Arauz Salinas, take a break during a during a training session in Mexico City. training session in Mexico City. — AFP photos rida the rescue dog, a labrador retriever who gained and rescue dog, the navy said. The emergency response Fworldwide fame for her heroics after the earthquake efforts she took part in included earthquakes in Haiti and that devastated Mexico on September 19, 2017, offi- Ecuador in 2010 and 2016, respectively, and an explosion cially retired from duty Monday. Frida, who adorably at the headquarters of Mexican state oil company Pemex sniffed through the rubble in her protective goggles and in 2013. booties in the hours after the tragedy, was sent into doggy Her job after the 7.1-magnitude earthquake that shook retirement at 10 years old in a ceremony at the canine unit Mexico City was to look for survivors in the rubble of the of the Mexican marines. “Our dear labrador Frida is start- Rebsamen elementary school, where 19 children and seven ing a new era,” said Deputy Naval Minister Eduardo adults were killed. Frida’s handlers removed her famous Redondo. mask and booties at the ceremony, and she received a “Frida stole the heart of all Mexico and thousands more chew toy as a symbol of her new life in retirement. “Frida, abroad... Her bark always gave hope, and in moments of mission accomplished, with honor,” said Redondo. — AFP pain and uncertainty she brought relief.” Frida saved 12 people’s lives across her decade-long career as a search In this file photo tourists look at the “Venus de Milo” sculpture as they visit the Louvre museum in Paris. — AFP painting thought to be a “lost masterpiece” by to be auctioned in Toulouse tomorrow. But before bidding was by the volatile and violent genius, who created it while Italian painter Caravaggio has been bought two could start a foreign buyer “close to a major museum” he was on the run from a death sentence for murder. “Not Adays before it was due to go under the hammer in stepped in, said Marc Labarbe, the local auctioneer who only is it a Caravaggio, but of all the Caravaggios that are France. “Judith and Holofernes”, which was found under an discovered the painting when he was asked to value some known today, this is one of the great pictures,” he insisted. old mattress in the attic of a house in the French city of “old things in the attic” five years ago. “The fact that the “The painting is in an extraordinarily good state, much Toulouse, was snapped up by a foreign buyer, the auction offer comes from a collector close to a major museum better than the Caravaggios I have seen in Naples,” he house selling it said on Tuesday. Art expert Eric Turquin- convinced the seller to accept (the offer),” he said. added. But although experts are united in hailing the who authenticated the painting-said it was worth between quality of the work, a minority of specialists-particularly 100 and 150 million euros (up to $170 million), although Price kept secret in Italy-have their doubts. They believe it is a copy made several Italian specialists have doubts about the canvas. Labarbe said he could not reveal the name of the buyer by the Flemish artist Louis Finson, who worked alongside But Turquin, France’s leading authority on Old Masters or the price paid because of a confidentiality agreement. Caravaggio as he painted. But Turquin is adamant it is the paintings, had staked his reputation on the work being the But he confirmed that the painting-dated to 1606 — will original from 1606 whose existence was first noted in In this file photo a painting believed by some experts to be fiery artist’s lost “Judith and Holofernes”. The painting leave France after an export bar, which classed the canvas letters between Italian dukes and art dealers four cen- depicting a grisly biblical scene of the beautiful Jewish as a “national treasure”, was not renewed in November. turies ago.—AFP Caravaggio’s “Judith Beheading Holofernes” is pictured at widow Judith beheading a sleeping Assyrian general was Turquin had earlier told AFP that he was sure the painting the Marc Labarbe auction house in Toulouse.—AFP.
Load more

Recommended publications
  • Games of Idealized Courtship and Seduction in the Paintings of Antoine Watteau and Jean-Honoré Fragonard and in Laclos' Novel, Dangerous Liaisons Barbara C
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Games of Idealized Courtship and Seduction in the Paintings of Antoine Watteau and Jean-Honoré Fragonard and in Laclos' Novel, Dangerous Liaisons Barbara C. Robinson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES GAMES OF IDEALIZED COURTSHIP AND SEDUCTION IN THE PAINTINGS OF ANTOINE WATTEAU AND JEAN­HONORĖ FRAGONARD AND IN LACLOS’ NOVEL, DANGEROUS LIAISONS By BARBARA C. ROBINSON A Dissertation submitted to the Department of Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Barbara C. Robinson defended on March 19, 2009. ____________________________________ William Cloonan Professor Directing Dissertation ____________________________________ Barry S. Sapolsky Outside Committee Member ____________________________________ Raymond Fleming Committee Member ____________________________________ Stanley E. Gontarski Committee Member Approved: _____________________________________________________ Nancy Warren, Chair, Department of Interdisciplinary Humanities The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I wish to thank the many friends and colleagues who have given me support and encouragement throughout this long process. In particular, I wish to acknowledge Jennifer Boyles, Judy Crawford, Ercelle Fishburn, Chet Kennedy and Ron Motter who have been with me from the beginning. Dr. William Cloonan, my major professor, deserves special thanks for pushing me beyond my limits and teaching me to think. I also owe thanks to the members of my committee – Dr. Ray Fleming, Dr.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • Father Ed Dowling — Page 1
    CHESNUT — FATHER ED DOWLING — PAGE 1 May 1, 2015 Father Ed Dowling CHESNUT — FATHER ED DOWLING — PAGE 2 Father Ed Dowling Bill Wilson’s Sponsor Glenn F. Chesnut CHESNUT — FATHER ED DOWLING — PAGE 3 QUOTES “The two greatest obstacles to democracy in the United States are, first, the widespread delusion among the poor that we have a de- mocracy, and second, the chronic terror among the rich, lest we get it.” Edward Dowling, Chicago Daily News, July 28, 1941. Father Ed rejoiced that in “moving therapy from the expensive clinical couch to the low-cost coffee bar, from the inexperienced professional to the informed amateur, AA has democratized sani- ty.”1 “At one Cana Conference he commented, ‘No man thinks he’s ug- ly. If he’s fat, he thinks he looks like Taft. If he’s lanky, he thinks he looks like Lincoln.’”2 Edward Dowling, S.J., of the Queen’s Work staff, says, “Alcohol- ics Anonymous is natural; it is natural at the point where nature comes closest to the supernatural, namely in humiliations and in consequent humility. There is something spiritual about an art mu- seum or a symphony, and the Catholic Church approves of our use of them. There is something spiritual about A.A. too, and Catholic participation in it almost invariably results in poor Catholics be- coming better Catholics.” Added as an appendix to the Big Book in 1955.3 CHESNUT — FATHER ED DOWLING — PAGE 4 “‘God resists the proud, assists the humble. The shortest cut to humility is humiliations, which AA has in abundance.
    [Show full text]
  • Galerie Perrotin Paris, France
    Othoniel 2019 projects Introduction Académie des beaux-arts, Paris, France. February 19 « Artistes à la Une - Togeth’Her, pour la liberté des femmes » Hôtel de la Monnaie de Paris, France. March 15 « Oracles » Solo exhibition, galerie Perrotin Paris, France. March 28 National Museum of Qatar Monumental installation conceived in a resonance with Jean Nouvel’s architectural design. May « Stonewall 50 » Contemporary Arts Museum Houston (CAMH), Texas. June 1 L’Herbier Merveilleux at the Louvre Museum The Louvre Pyramid 30th anniversary, Paris, France. June 27 « Nudos Salvajes, Les Nœuds Mathématiques » Centre Culturel Néstor Kirchner, Buenos Aires, Argentina. July 5 The Necklace’s House Nihonbashi, Tokyo, Japan. Auust 20 « Îles singulières » Solo exibition, Château la Coste, Puy-Sainte-Réparade, France. November 20 « A Rose Garden » Solo exhibition, galerie Perrotin Shanghaï, China. 2019 A new year filled with major projects, commemorations and commitments. In Paris, Doha, Houston, Monaco, Château La Coste, Tokyo and Shanghai, the artist is undoubtedly embarking on one of the most important years in his career: site-specific projects, a retrospective, installations, books, paintings and new sculptures. In late 2018, Othoniel was elected at the Académie des Beaux-Arts in the sculpture section. Starting in January 2019, when the acceptance ceremony takes place, he will help the Academy fulfill its mission to defend, promote and support artistic creation. In February, for the 2nd consecutive year, Jean-Michel Othoniel will participate in the exhibition and sale “Artistes à la Une - Togeth’Her,” held at the Monnaie de Paris in partnership with Vogue magazine. Proceeds will benefit UN Women, a global champion for gender equality dedicated to fighting violence against women.
    [Show full text]
  • Wwciguide September 2016.Pdf
    Air Check Dear Member, The Guide The Member Magazine for A very important focus across all of our platforms is education. Ensuring that the very youngest WTTW and WFMT members of our community are ready for school; that kids are exposed to the arts, literature, science, Renée Crown Public Media Center history, the great outdoors, and more; that kids across the city and suburbs are encouraged to graduate 5400 North Saint Louis Avenue Chicago, Illinois 60625 from high school and beyond – these values are all core to our mission. This month as students head back to school, WTTW brings you a week-long primetime and digital initiative, Spotlight Education Week, Main Switchboard which features specials from Frontline, NOVA, POV, Independent Lens, (773) 583-5000 TED Talks, PBS NewsHour, and more, culminating in the annual American Member and Viewer Services (773) 509-1111 x 6 Graduate Day celebration recognizing individuals and organizations that WFMT Radio Networks are helping children achieve their goals. These specials will be available (773) 279-2000 on WTTW11 and wttw.com. Visit WTTW’s American Graduate website, Chicago Production Center and watch our 9-part digital series, Central Standard: On Education, for (773) 583-5000 a revealing look at the challenges facing families in Chicago’s education Websites system through the eyes of five 8th grade students. wttw.com wfmt.com September is always a month of blockbuster premieres on WTTW11. President & CEO We’ll bring all-new seasons of the popular Poldark and Indian Summers Daniel J. Schmidt series from Masterpiece. PBS NewsHour provides coverage and analysis COO & CFO of the first Presidential Debate; Frontline’s acclaimed election-year series Reese Marcusson The Choice returns – going behind the headlines to investigate what has shaped the Democrat and EVP Radio & Project Development Republican candidates; and Chicago Tonight will go deep with coverage of local elections.
    [Show full text]
  • The Dolorous Passion of Our Lord Jesus Christ. by Anne Catherine Emmerich About the Dolorous Passion of Our Lord Jesus Christ
    The Dolorous Passion of Our Lord Jesus Christ. by Anne Catherine Emmerich About The Dolorous Passion of Our Lord Jesus Christ. by Anne Catherine Emmerich Title: The Dolorous Passion of Our Lord Jesus Christ. URL: http://www.ccel.org/ccel/emmerich/passion.html Author(s): Emmerich, Anne Catherine (1774-1824) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Print Basis: London: Burns and Lambert, [1862] CCEL Subjects: All; Mysticism; Classic LC Call no: BT430.E5 LC Subjects: Doctrinal theology Christology Life of Christ The Dolorous Passion of Our Lord Jesus Christ. Anne Catherine Emmerich Table of Contents About This Book. p. ii Title Page. p. 1 Preface to the French Translation.. p. 2 Introduction. p. 6 Life of Anne Catherine Emmerich, Religious of the Order of St. Augustine, at the Convent of Agnetenberg, Dulmen, Westphalia.. p. 8 To the Reader. p. 35 Meditation I. Preparations for the Pasch.. p. 36 Meditation II. The Supper-Room.. p. 37 Meditation IV. The Chalice used at the Last Supper.. p. 40 Meditation V. Jesus goes up to Jerusalem.. p. 41 Meditation VI. The Last Pasch.. p. 43 Meditation VII. The Washing of the Feet.. p. 46 Meditation VIII. Institution of the Holy Eucharist.. p. 48 Meditation IX. Private Instructions and Consecrations.. p. 51 The Passion. p. 54 Introduction. p. 54 Chapter I. Jesus in the Garden of Olives.. p. 55 Chapter II. Judas and his Band.. p. 69 Chapter III. Jesus is arrested.. p. 72 Chapter IV. Means employed by the enemies of Jesus for carrying out their designs against him.. p. 78 Chapter V.
    [Show full text]
  • T T-\Yf-T Dissertation U I V L L Information Service University Microfilms Intemational a Bell & Howell Information Company 300 N
    INFORMATiOîi TO USERS This reproduction was made from .1 copy of a manuscript sent to us for publication and microfilming. While the most advanced te.:hnology has been used to pho­ tograph and reproduce this manuscript, tfje quality of the reproduction is heavily dependent upon the quality of the material submitted. Pages in any manuscript may have indistinct print. In all cases the best available copy has been Aimed. The following explariation of techniques is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap­ pears to indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec­ tioning the original, beginning at the upper left hand comer and continu­ ing from left to right in equal sections with small overlaps. E%ach oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or in black and white paper format. • 4. Most photographs reproduce acceptably on positive microfilm or micro- Oche but lack clarity on xerographic copies made from the microAlm. Fbr an additional charge, all photographs are available in black and white standard 35mm slide format.* «For more information about black and white slides or enlarged paper reproductions, please contact the Dissertatlona Customer Services Department. T T-\yf-T Dissertation U i V l l Information Service University Microfilms Intemational A Bell & Howell Information Company 300 N.
    [Show full text]
  • Art and Environmental Embodiment in Early National Philadelphia
    THE OPULENT CITY AND THE SYLVAN STATE: ART AND ENVIRONMENTAL EMBODIMENT IN EARLY NATIONAL PHILADELPHIA A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Laura Turner Igoe August 2014 Examining Committee Members: Ashley West, Advisory Chair, Art History, Temple University Therese Dolan, Art History, Temple University Andrew Isenberg, History, Temple University Alan C. Braddock, Art History and American Studies, The College of William & Mary Wendy Bellion, External Member, Art History, University of Delaware © Copyright 2014 by Laura Turner Igoe All Rights Reserved ii ABSTRACT This dissertation investigates the ways in which Philadelphia artists and architects visualized, comprehended, and reformed the city’s rapidly changing urban environment in the early republic, prior to the modern articulation of “ecology” as a scientific concept by late nineteenth-century naturalists such as Ernst Haeckel. I consider a variety of different media—including popular depictions and manifestations of Penn’s Treaty Elm, fireplace and stove models by Charles Willson Peale, architectural designs for the Philadelphia Waterworks by Benjamin Henry Latrobe, and a self-portrait bust by the sculptor William Rush—in order to demonstrate that the human body served as a powerful creative metaphor in Philadelphia circa 1800, not only for understanding and representing natural processes in political or aesthetic terms, but also for framing critical public discourse about the city’s actual environmental conditions. Specifically, I reveal how this metaphorical framework produced a variety of effects in art and architecture of the period, sometimes facilitating and at other times obscuring an understanding about the natural world as an arena of dynamic transformation.
    [Show full text]
  • 18 Century French Painting
    ththth 181818 Century French Painting Osher Lifelong Learning Institute atatat George Mason UniversityUniversity,, Loudoun Campus FallFallFall,Fall , 2002008888 Bob Lawshe, Study Group Facilitator Iron rusts from disuse, stagnant water loses its purity, and in cold weather becomes frozefrozen;n; even so doesdoes inaction sap the vigors of the mind. Leonardo da Vinci YYYoungYoung people are in a condition like permanent intoxintoxication,ication, because youth is sweet and they are growingrowing.g. Aristotle Overview The goal of this class is to better understand 18 th Century French Painting. There is no attempt to provide a comprehensive review of the painting of this period, that would not be possible, at least 18 th Century French Painting for me. This class is not a lecture, rather, we will use the Study Group approach to jointly look at a number of paintings by artists of this time and see if we can gain some insight into the art of this period. Session 1 We start with two Baroque artists whose very different styles of painting greatly influenced subsequent artists. These artists are: • Peter Paul Rubens, (1577 – 1640); and • Nicolas Poussin, (1594 – 1665). We will then move onto 18 th century French painters, who painted in what is often known as the Rococo style. We will see there is quite a bit a difference between them. The artists are: • Jean-Antoine Watteau, (1684 – 1721). We will also take a brief look at a Venetian; • Giorgione (c. 1477 – 1510) (really either Giorgio Barbarelli or Giorgion da Castelfranco). Session 2 We will continue with the 18 th century French painters: • Jean-Antoine Watteau; and • François Boucher, (1703 – 1770).
    [Show full text]
  • Doubting Mary: Early English Drama from N-Town to Shakespeare
    Doubting Mary: Early English Drama from N-Town to Shakespeare Emma Margaret Solberg Jersey City, New Jersey BA, Oxford University, 2005 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August, 2013 Table of Contents Introduction…………...................................................................................................................1 ★ The Late Medieval English Cult of the Virgin………….……………………………...6 ★ Critical History…………………………………………..……………………………...9 Chapter 1: The Virgin Whore ★ Introduction: Ave Eva……………………………………...………………………….20 ★ The Immaculate Conception………………………………...…………………………27 ★ Joseph’s Doubt………………………………...………………………………………42 ★ The First Suspect: Joseph………………………………...……………………………44 Mary’s Locked Door………………………………..………………………...52 God’s Cuckold……………………………………….……………………….55 ★ The Second, Third, and Fourth Suspects ……...……………………………………...60 ★ The Fifth Suspect ……...……………………………………………………………...69 ★ The Sixth Suspect ……...……………………………………………………………..73 The Adulteress’ Excuse………………………………..……………………..80 ★ Christ and the Adulteresses……………………………………...…………………….83 Marian Miracles…………………………………………..…………………..90 ★ Conclusion: Incarnational Theater…………………………………….………………92 Chapter 2: “Trye the Trewthe Owth” ★ Introduction: “The fool says in his heart, there is no God”…………………...………96 ★ Moments of Doubt…………………………………………………………..…..……102 ★ N-Town’s Nativity Pageant………………………………………………...……...…108 ★ N-Town’s “Trial of Mary
    [Show full text]
  • Harriet Hosmer (1830–1908): Fame, Photography, and the American “Sculptress”
    Harriet Hosmer (1830–1908): Fame, Photography, and the American “Sculptress” by Margo Lois Beggs A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Margo Lois Beggs 2013 Harriet Hosmer (1830–1908): Fame, Photography, and the American “Sculptress” Margo Lois Beggs Doctor of Philosophy Department of Art University of Toronto 2013 Abstract “Harriet Hosmer (1830–1908): Fame, Photography, and the American ‘Sculptress’” is a case study inspired by one nineteenth-century sculptor’s career and a rare body of photographs showcasing the artist and her work. The American neoclassical sculptor Harriet Hosmer came of age near Boston, where she began her early artistic training. In 1852, at the age of twenty-two, she moved to Rome to further her career as a sculptor. Soon after, she became the most famous woman sculptor of her period. Her friends and patrons included Anglo- American literary figures, women’s rights activists, wealthy Americans, British aristocracy, and European royalty. This study asks what, if anything, photography had to do with Harriet Hosmer’s rise to fame. Hosmer’s life and work have been subject to much scholarly commentary in recent decades, with several writers attempting to account for her unprecedented international renown as a female sculptor. None of these writers, however, has centred an investigation on photography’s intervention in Hosmer’s career. This study foregrounds the intersection of ii sculpture and photography as it relates to Hosmer’s rapid rise in the mid-nineteenth-century artistic firmament. A substantial part of the dissertation undertakes a careful analysis of photographs depicting Hosmer and her work, as well as related archival materials, highlighting the ways in which Hosmer joined forces with commercial photographers to engineer her career success.
    [Show full text]
  • Lighting for TV Production-MCM402 VU 1 Topic 054 Chiaroscuro What
    Lighting for TV Production-MCM402 VU Topic 054 Chiaroscuro What is the Definition and Meaning of Chiaroscuro? Although lacking a precise definition, the fine art term "chiaroscuro" (from the Italian for "light- dark"; or the French "clair-obscur") describes the prominent contrast of light and shade in a painting, drawing or print, and the skill demonstrated by the artist in the management of shadows to create the illusion of three-dimensional forms. The point is, solidity of form is only detectable in the presence of light. (For instance, it is only as dawn approaches that objects or figures - hitherto detectable only as slightly darker blobs than their surroundings - acquire volume and a three-dimensional appearance.) And if light emanates from a single source, it illuminates objects according to a specific set of rules. Chiaroscuro describes how the painter depicts the 3-D illumination of objects thus creating the illusion of solid forms. Origins Although the Early Renaissance painter Masaccio (1401-28) - see works like The Holy Trinity (1428) and The Tribute Money (1426) - as well as High Renaissance artists Leonardo da Vinci (1452-1519) and Raphael (1483-1520) are commonly considered to have pioneered the use of chiaroscuro to create the illusion of relief - notably in the modelling of the human body - the term is most often applied to works created during the Mannerism and Baroque eras, notably by Caravaggio (1571-1610) (and his Caravaggisti followers), and Rembrandt (1606-69). [Note: The separate term "chiaroscuro woodcut" refers
    [Show full text]