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Vendredi 22 Et Samedi 23 Février 2013 À 13 H Vrijdag 22 En Zaterdag 23 Februari 2013 Om 13 U
VENTE PUBLIQUE DE LIVRES ET DE GRAVURES OPENBARE VEILING VAN BOEKEN EN PRENTEN Vendredi 22 et samedi 23 février 2013 à 13 h Vrijdag 22 en zaterdag 23 februari 2013 om 13 u Exposition et vente À LA LIBRAIRIE Ch. de Charleroi 162, 1060 Bruxelles Tentoonstelling en veiling IN DE BOEKHANDEL Charleroisesteenweg 162, 1060 Brussel Exposition : Vendredi 15 et samedi 16 février de 10 à 19 h, du lundi 18 au mercredi 20 février de 10 à 19 h et jeudi 21 février de 10 à 18 h Tentoonstelling : Vrijdag 15 en zaterdag 16 februari van 10 tot 19 u, van maandag 18 tot woensdag 20 februari van 10 tot 19 u en donderdag 21 februari van 10 tot 18 u LE LIBRAIRE ALAIN FERRATON Chaussée de Charleroi, 162/8 – B 1060 Bruxelles Ouvert du mardi au samedi de 10 à 18 h 30 Charleroisesteenweg, 162/8 – B 1060 Brussel Open van dinsdag tot zaterdag van 10 tot 18 u 30 Phone : 00. 32 (0)2.538.69.17 – Fax : 00. 32 (0)2.537.46.05 Mail : [email protected] Internet : www.ferraton.be TABLE DES MATIÈRES PREMIÈRE VACATION : VENDREDI 22 FÉVRIER 2013 À 13 H Livres anciens du 16e au 18e s. – Impressions populaires –Emblemata 1-118 Révolution française et Premier Empire (1789-1815) 120-200 Histoire – Géographie – Voyages 201-232 Autographes historiques, scientifiques et littéraires 233-248 Belgicana 249-306 Bibliographie, histoire du livre et de la gravure, imagerie populaire, ex-libris, manuscrits à miniature 307-358 Sciences et techniques 359-362 Franc-Maçonnerie 363-365 Enfantina et bandes dessinées 366-372 Musique et cinéma 373-376 Asie, Afrique, Amérique, Océanie… : art, histoire, voyages, ethnographie 377-479 Architecture 480-484 Arts appliqués 485-496 Art ancien de l’Antiquité au 18e siècle 497-584 « Univers des Formes » 585-594 SECONDE VACATION : SAMEDI 23 FÉVRIER 2013 À 13 H Cartes postales – Chromos 595-614 Cartes topographiques et gravures anciennes 615-624 Gravures et dessins (19e et 20e siècles) 625-665 Photographies 666-682 Éditions « Pierre d’Alun » 683-699 De Dada à Cobra : Les Avant-gardes artistiques et littéraires du 20e s. -
2020-Commencement-Program.Pdf
THE JOHNS HOPKINS UNIVERSITY COMMENCEMENT 2020 Conferring of degrees at the close of the 144th academic year MAY 21, 2020 1 CONTENTS Degrees for Conferral .......................................................................... 3 University Motto and Ode ................................................................... 8 Awards ................................................................................................. 9 Honor Societies ................................................................................. 20 Student Honors ................................................................................. 25 Candidates for Degrees ..................................................................... 35 2 ConferringDegrees of Degrees for Conferral on Candidates CAREY BUSINESS SCHOOL Masters of Science Masters of Business Administration Graduate Certificates SCHOOL OF EDUCATION Doctors of Education Doctors of Philosophy Post-Master’s Certificates Masters of Science Masters of Education in the Health Professions Masters of Arts in Teaching Graduate Certificates Bachelors of Science PEABODY CONSERVATORY Doctors of Musical Arts Masters of Arts Masters of Audio Sciences Masters of Music Artist Diplomas Graduate Performance Diplomas Bachelors of Music SCHOOL OF NURSING Doctors of Nursing Practice Doctors of Philosophy Masters of Science in Nursing/Advanced Practice Masters of Science in Nursing/Entry into Nursing Practice SCHOOL OF NURSING AND BLOOMBERG SCHOOL OF PUBLIC HEALTH Masters of Science in Nursing/Masters of Public -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
The Renaissance Society of America Annual Meeting
CHICAGO 30 March–1 April 2017 RSA 2017 Annual Meeting, Chicago, 30 March–1 April Photograph © 2017 The Art Institute of Chicago. Institute The Art © 2017 Photograph of Chicago. Institute The Art © 2017 Photograph The Renaissance Society of America Annual Meeting The Renaissance Society of America Annual Meeting Program Chicago 30 March–1 April 2017 Front and back covers: Jacob Halder and Workshop, English, Greenwich, active 1576–1608. Portions of a Field Armor, ca. 1590. Steel, etched and gilded, iron, brass, and leather. George F. Harding Collection, 1982.2241a-h. Art Institute of Chicago. Contents RSA Executive Board .......................................................................5 RSA Staff ........................................................................................6 RSA Donors in 2016 .......................................................................7 RSA Life Members ...........................................................................8 RSA Patron Members....................................................................... 9 Sponsors ........................................................................................ 10 Program Committee .......................................................................10 Discipline Representatives, 2015–17 ...............................................10 Participating Associate Organizations ............................................. 11 Registration and Book Exhibition ...................................................14 Policy on Recording and Live -
Pico, Plato, and Albert the Great: the Testimony and Evaluation of Agostino Nifo EDWARD P
Pico, Plato, and Albert the Great: The Testimony and Evaluation of Agostino Nifo EDWARD P. MAHONEY Giovanni Pico della Mirandola (1463-1494) is without doubt one of the most intriguing figures of the Italian Renaissance. It is thus no surprise that he has attracted the attention of many modern scholars. By reason of the varied interests that are reflected in his writings, contrasting interpretations of Pico have been proposed.1 Our purpose here is not to present a new and different picture of Pico but, rather, to offer a contribution to one fruitful area of research pursued by some recent historians of philosophy, namely, Pico's debt to, and 1. For general presentations of Pico's life and thought, see the classic study of Eugenio Garin, Giovanni Pico della Mirandola: Vita e dottirina (Florence: F. Le Monnier, 1937); Garin's magisterial Storia della filosofia italiana, 2d ed. (Turin: G. Einaudi 1966), 1:458-495. Among more recent general accounts are Pierre-Marie Cordier, Jean Pic de la Mirandole (Paris: Debresse, 1958); Engelbert Monnerjahn, Giovanni Pico della Mirandola (Wiesbaden: F. Steiner, 1960); Paul Oskar Kristeller, Eight Philosophers of the Italian Renaissance (Stanford: Stanford University Press, 1964), pp. 54-71; Giovanni di Napoli, Giovanni Pico della Mirandola e laproblemaύca dottrinale del suo tempo (Rome: Desclee, 1965); Charles Trinkaus, In Our Image and Likeness (Chicago: University of Chicago Press, 1970), 2:505-526; and Henri de Lubac, Pic de la Mirandole: Etudes et discussions (Paris: Aubier Montaigne, 1974). 165 166 EDWARD P. MAHONEY use of, medieval philosophy in his overall philosophical enterprise.2 Of particular concern will be the influence of Albert the Great on Pico, which can be established by a connection that has apparently not been noticed by Pico's historians. -
INTRODUCTION Agostino Nifo Was a Prolific Writer. During His
INTRODUCTION Agostino Nifo was a prolific writer. During his lifetime, thirty-five works were published, and after his death another five came out. His books appeared in more than one hundred and sixty editions, from to , at Venice, Pavia, Lyon, Paris, Naples, Florence, Augsburg, Bologna, Rome,Leiden,Basel,Marburg,Troyes,Rouen,Parma,andGenoa.1 In , Nifo published De intellectu,themajorworkofhisearly career, touching on questions of philosophical psychology. Based on a detailed assessment of the views of his predecessors, Nifo in this work presented an analysis of the main issues of Peripatetic noetics, namely origin and immortality of the intellect or rational soul, its relation to the body, its unity and parts, the speculative intellect, and intellectual beatitude. Although the bulk of the work was presumably composed in the early s at Padua, there is good evidence that it was completed and drastically reorientated before publication. This introduction offers a cursory view of Peripatetic noetics and the doctrinal context of Nifo’s work, as well as a short analysis of his shift toward anti-Averroism. It also dwells on Nifo’s use of philosophical and other sources, and on the issue of the ‘lost’ works of Siger of Brabant quoted in De intellectu. Subsequently, the general structure of the work, i.e. its main themes and issues, recurring argumentative strategies, and the fortune of the work are discussed. Finally, I present a note on the transcription of this text and on the works quoted or cited by Nifo. The Introduction is followed by an extensive analytical summary ofthe contents of the work. -
Mapmaking in England, Ca. 1470–1650
54 • Mapmaking in England, ca. 1470 –1650 Peter Barber The English Heritage to vey, eds., Local Maps and Plans from Medieval England (Oxford: 1525 Clarendon Press, 1986); Mapmaker’s Art for Edward Lyman, The Map- world maps maker’s Art: Essays on the History of Maps (London: Batchworth Press, 1953); Monarchs, Ministers, and Maps for David Buisseret, ed., Mon- archs, Ministers, and Maps: The Emergence of Cartography as a Tool There is little evidence of a significant cartographic pres- of Government in Early Modern Europe (Chicago: University of Chi- ence in late fifteenth-century England in terms of most cago Press, 1992); Rural Images for David Buisseret, ed., Rural Images: modern indices, such as an extensive familiarity with and Estate Maps in the Old and New Worlds (Chicago: University of Chi- use of maps on the part of its citizenry, a widespread use cago Press, 1996); Tales from the Map Room for Peter Barber and of maps for administration and in the transaction of busi- Christopher Board, eds., Tales from the Map Room: Fact and Fiction about Maps and Their Makers (London: BBC Books, 1993); and TNA ness, the domestic production of printed maps, and an ac- for The National Archives of the UK, Kew (formerly the Public Record 1 tive market in them. Although the first map to be printed Office). in England, a T-O map illustrating William Caxton’s 1. This notion is challenged in Catherine Delano-Smith and R. J. P. Myrrour of the Worlde of 1481, appeared at a relatively Kain, English Maps: A History (London: British Library, 1999), 28–29, early date, no further map, other than one illustrating a who state that “certainly by the late fourteenth century, or at the latest by the early fifteenth century, the practical use of maps was diffusing 1489 reprint of Caxton’s text, was to be printed for sev- into society at large,” but the scarcity of surviving maps of any descrip- 2 eral decades. -
Fig. 1. Hendrick De Clerck, Moses Striking the Rock, Ca. 1610, Tempera on Oil Panel, 170 X 133 Cm, Montreal Museum of Fine Arts
Fig. 1. Hendrick de Clerck, Moses Striking the Rock, ca. 1610, tempera on oil panel, 170 x 133 cm, Montreal Museum of Fine Arts. Family Works: A Multiplicity of Meanings and Contexts | http://www.concordia.ca/familyworks Hendrick de Clerck's Moses Striking the Rock: Turning Religion into a Myth Alena Krasnikova This analysis of Hendrick de Clerck's (ca. 1560–1630) Moses Striking the Rock (ca. 1610) (fig. 1) will focus on how classical subjects of Greco-Roman antiquity were used in religious paintings during the late Mannerist–early Baroque era in Catholic Flanders to create a biblical-mythological genre of art. As a court painter for Archdukes Albert (1559–1621) and Isabella (1566–1633) in Brussels, De Clerck was expected to paint biblical subjects that reflected the new religious politics of the Counter-Reformation.1 Moses Striking the Rock is a large canvas that represents Moses at Mount Horeb, striking the rock with his stick to provide water for the Hebrews (Exodus 17: 5–6). Fig. 1. Hendrick de Clerck, Moses Striking the Rock, ca. 1610, tempera on oil panel, 170 x 133 cm, Montreal Museum of Fine Arts. Family Works: A Multiplicity of Meanings and Contexts | http://www.concordia.ca/familyworks Moses Striking the Rock depicts a scene with various twisted, half-reclining young women and men. The major group, occupying almost half of the picture, is concentrated in the left foreground against a backdrop of rich Italian vegetation. Here men, women and children are gathered in a circle around a seated, lavishly dressed mother with small children at her side. -
Florence and the Netherlands
EXHIBITION REVIEWS introductory essays, especially those by Lorne Campbell and Jennifer Fletcher, the former’s above-mentioned Renaissance Portraits often shines through. Multi-authored books rarely make for a comprehensive, well-integrated approach to a subject, and it would be wel - come if Campbell’s book, which has long been out of print, could be reissued. 1 L. Campbell: Renaissance Portraits: European Portrait- Painting in the 14th, 15th and 16th Centuries , New Haven and London 1990. 2 Catalogue: El retrato del Renacimiento . Edited by Miguel Falomir, with essays by Miguel Falomir, Luke Syson, Alexander Nagel, Lorne Campbell, Jennifer Fletcher, Joanna Woods-Marsden, Juan Luis González García and Michael Bury. 544 pp. incl. 230 col. + 19 b. & w. ills. (Museo Nacional del Prado and Editiones El Viso, Madrid, 2008), 50. ISBN 978–84–95241– € 56–6. An English translation of the essays and entries is included at the back of the book. 3 There will be a different catalogue to accompany the London show, with essays by Luke Syson, Lorne Campbell, Jennifer Fletcher and Miguel Falomir; catalogue: Renaissance Faces: Van Eyck to Titian , £35 (HB). ISBN 9781 –857 –0941 –14; £19.95 (PB). ISBN 978 –1–857 –0940 –77. 4 The central theme of the exhibition Firenze e gli antichi Paesi Bassi 1430–1530 at the Palazzo Pitti, Florence 81. St Jerome in his study , by Jan van Eyck?. Paper (to 26th October), reviewed below. 80. St Jerome in his study , by Domenico Ghirlandaio. mounted on panel, 20.6 by 13.3 cm. (Detroit 5 L. Silver: The paintings of Quinten Massys with a 1480. -
BREPOLS Author Guidelines
Page 1 of 12 Guidelines for Authors This document provides guidelines for preparing your typescript for publication in a volume within the English-language series on Medieval and Early Modern Studies. This includes: 1. Formatting your Typescript – guidance on delivery format, footnotes, and fonts 2. Essential Information that should be supplied, including specific notes for: contributions in essay collections contributions in journal issues monographs 3. MHRA Style Guide Crib Sheet: a summary of the MHRA style sheet, divided by citations, language, spelling, etc. We request all authors compose their Typescript as closely as possible to this sheet 1. Formatting your Typescript A full Table of Contents listing all material to be included (including any acknowledgements, abbreviations, prefaces, index(es), appendices, and so on), should be supplied. We will assume that the material supplied is definitive and complete, based on the contents supplied. In addition, please provide a full list of illustrations by article and by type (following the instructions and caption models in our Image Guidelines). Any material not included in the contents and list of figures, and not supplied with the typescript, cannot be subsequently included. Please supply text files electronically (by email) in separate, clearly labelled chapters (eg NMS55- Smith.doc or EER6-Chapter 2.doc). These text files should not include any embedded images (please see the document ‘Images in Brepols Publications’ for more information on the supply of images). A hard copy is not required; nor is a pdf required except in the case where we might need to check the fonts (see below) or where you have particular requirements for the presentation of block quotations. -
Lista De Espera Para Chamada Presencial
LISTA DE ESPERA PARA CHAMADA PRESENCIALDO SISU 2013/2 - UFSJ - CONFORME ITEM 3 DO EDITAL COMPLEMENTAR 013/2013 A Chamada Presencial será feita nos dias e horário, conforme especificado no Quadro 1.2 do Edital 013/2013 As informações para a Chamada Presencial estão especificadas no item 3 do Edital 013/2013 Documentos a serem apresentados para a matrícula na Chamada Presencial, verificar subitens 3.10, 3.11 e 3.13 do Edital 013/2013 Colocação Nova reclassificação Nota no Campus Curso Turno Formação Nome do Candidato RG Tipo de Vaga por tipo de conforme subitens 3.1 e ENEM vaga 3.2, do Edital 013/2013 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado CASSIO LUIZ SIQUEIRA 17436858 663.24 AC 63 1 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado ISMAEL RAMALHO DA COSTA SOARES 6299841 663.11 AC 64 2 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado BRUNO AMANCIO TEIXEIRA SILVA 6019538 663.05 AC 65 3 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado DIEGO HENRIQUE OLIVEIRA ARAUJO MG-18.676.459 663.04 AC 66 4 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado BERNARDO MICHEL SLAILATI MG-15.988.911 662.00 AC 67 5 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado DANIELY EL MOALLEM MG - 11483469 661.47 AC 68 6 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado PEDRO AUGUSTO DA SILVA BRAGA MG-18.359.459 661.39 AC 69 7 CAMPUS ALTO PARAOPEBA - CAP ENG. CIVIL Integral Bacharelado MIRIAM ZAIDAN DE SOUZA MG13737677 659.55 AC 70 8 CAMPUS ALTO PARAOPEBA - CAP ENG. -
Madonna and Child with Saint John the Baptist, Saint Peter, and Two Angels C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Tuscan 13th Century Madonna and Child with Saint John the Baptist, Saint Peter, and Two Angels c. 1290 tempera on panel painted surface (original panel including painted frame): 34.3 × 24.7 cm (13 1/2 × 9 3/4 in.) overall (including added wooden strips): 36 × 26 cm (14 3/16 × 10 1/4 in.) Inscription: on the scroll held by Saint John the Baptist: E[C]CE / AGNU[S] / DEI:[ECCE] / [Q]UI [TOLLIT PECCATUM MUNDI] (from John 1:29) Samuel H. Kress Collection 1952.5.60 ENTRY The enthroned Madonna supports her son, seated on her left knee, with both hands. The child, in a frontal position, blesses with his right hand, holding a roll of parchment in his left. The composition is a variant of the type of the Hodegetria Virgin; in the present case, she does not point towards her son, as in the Byzantine prototype, but instead presents him to the spectator. [1] Her affectionate maternal pose is thus given precedence over her more ritual and impersonal role. But Mary’s pose perhaps has another sense: she seems to be rearranging her son’s small legs to conform them to the cross-legged position considered suitable for judges and sovereigns in the Middle Ages. [2] The panel is painted in a rapid, even cursory manner. The artist omits the form of the throne’s backrest, which remains hidden by the cloth of honor, supported by angels and decorated with bold motifs of popular taste (an interlocking pattern of quatrefoils and octagons).