Rembrandt: the Denial of Peter
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ART 486 / 586 Baroque Art Fall 2018
ART 486 / 586 Baroque Art fall 2018 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR after class until noon, TR 4:00 – 5:00 other times by appt. Class meets TR 9:30 – 10:45 in the Art History Room 106 in the Art Annex Building. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 281, 282 or the equivalent in history. Program Learning Outcomes (for art history majors, of which there are none in the class) 1. Foundation Skills 2. Interpretative Skills 3. Research Skills Undergraduate students will conduct art historical research involving logical and insightful analysis of secondary literature. Category: Embedded course assignment (research paper) Text: Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for example, on Aug. 22 there were 3 used copies of the 1st ed in acceptable condition for less than $7.19 or 7.23 and one good for $11.98 on bookfinder.com. I don’t require you to buy the book; however, you may want your own copy or share one at exam times. Work schedule: A. 2 non-comprehensive quizzes identifying works and terms, collectively worth 20% if higher than other work, 10% if lower. The extra 5% will count toward other work with the highest grade. -
The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
Cultura, Vol. 21 | 2005 Poder De Convencimento E Narração Imagética Na Pintura Portuguesa Da Contra-R
Cultura Revista de História e Teoria das Ideias vol. 21 | 2005 Livro e Iconografia Poder de convencimento e narração imagética na pintura portuguesa da contra-reforma A influência de um gravado segundo Seghers numa tela do Convento dos Paulistas de Portel The power of persuasion and images narrative in counter-reformation Portuguese painting: the influente of an engraving following Seghers in a canvas of the Paulistas Monastery at Portel Vítor Serrão Edição electrónica URL: http://journals.openedition.org/cultura/2951 DOI: 10.4000/cultura.2951 ISSN: 2183-2021 Editora Centro de História da Cultura Edição impressa Data de publição: 1 Janeiro 2005 Paginação: 65-76 ISSN: 0870-4546 Refêrencia eletrónica Vítor Serrão, « Poder de convencimento e narração imagética na pintura portuguesa da contra- reforma », Cultura [Online], vol. 21 | 2005, posto online no dia 26 maio 2016, consultado a 21 abril 2019. URL : http://journals.openedition.org/cultura/2951 ; DOI : 10.4000/cultura.2951 Este documento foi criado de forma automática no dia 21 Abril 2019. © CHAM — Centro de Humanidades / Centre for the Humanities Poder de convencimento e narração imagética na pintura portuguesa da contra-r... 1 Poder de convencimento e narração imagética na pintura portuguesa da contra-reforma A influência de um gravado segundo Seghers numa tela do Convento dos Paulistas de Portel The power of persuasion and images narrative in counter-reformation Portuguese painting: the influente of an engraving following Seghers in a canvas of the Paulistas Monastery at Portel Vítor Serrão 1. A História da Arte reconhece hoje o papel muito destacado que foi assumido pela imagem gravada nos sucessivos processos de evolução artística. -
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. -
Full Texts Book
2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Editor Assoc. Prof. Dr. Filiz KALYON ISBN - 978-1-955094-08-5 2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Published by Liberty Publications -2021© LIBERTY ACADEMIC is a part of LIBERTY PUBLISHER OF BOOKS Head officeNew York, USA +1 (314) 597-037280 Maiden Lane, 21st Floor /8Water Street Corridor New York, NY 10038 www.libertyacademicbooks.com [email protected] Release date: 21.07.2021 ISBN – 978-1-955094-08-5 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY CONGRESS'S IDENTIFICATION CONGRESS NAME 2. Pearson Journal International Conference on Social Sciences & Humanities DATE AND PLACE June 28-29, 2021 Izmir, TURKEY ORGANIZING COMMITTEE Dr. Terane NAGIYEVA Dr. Mehmet Emin KALGI Dr. Alice HERMANIS Dr. Hasan ÇİFTÇİ Dr. Damezhan SADYKOVA Dr. Yunus Emre TANSÜ COORDINATOR Zhanuzak ALIMGEREY NUMBER OF ACCEPTED PAPERS 31 NUMBER OF REJECTED PAPERS 11 EVALUATION PROCESS All applications have undergone a double-blind peer review process CONGRESS LANGUAGES Turkish and all dialects, English, Russian PRESENTATION Oral presentation Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY PHOTO GALLERY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY SCIENTIFIC COMMITTEE Prof. -
The Gospel of Mark
The Gospel of Mark A Living Word Independent Bible Study The Gospel of Mark Part 44 Mark 16:1-8 A Living Word Independent Bible Study The earliest manuscripts of Mark’s Gospel that have been found end with the eight verses in today’s lesson. Later manuscripts include a variety of additional endings that are typically set apart from the rest of the Gospel in modern translations. These endings will be the subject of the final lesson in this study. Mark 16:1-8 ( NIV) The eight verses to be covered in this session contain Mark’s telling INTRODUCTION of the events of Easter morning. It should be noted that each of the four Gospels describes the events of Easter morning somewhat differently. Just as four witnesses to one event may give their testimony to the event somewhat differently, the Gospel writers record the events somewhat differently as well. Early in its history, the Christian church found value in keeping all four Gospels as part of its tradition, rather than attempting to consolidate the four Gospels into a single authoritative account of the life, death, and resurrection of Jesus. While these variations are not unimportant, in a study of a SINGLE Gospel, it is helpful to try to understand the perspective of that particular writer. “Sabbath was over” Mark 16:1 ( NIV) This implies that it was sometime after 6:00 PM on Saturday evening that the women went to purchase spices. When the Sabbath was They would not have been permitted to “work” – over, Mary Magdalene, purchasing or preparing perfumes and ointments – ON the Mary the mother of Sabbath itself. -
The Historical Value of the Fourth Gospel. Iv
HISTORICAL VALUE OF THE FOURTH GOSPEL 431 a man of his own'people and age, with all the limitations which that involved, than Christian theologians generally have been prepared to concede. But that he held notispiritual and moral, but often magical views of the sacraments seems to the writer to require far more conclusive evidence than yet has been furnished. That he was a sacramen~arian in the modern sense of the word, the treatment of the Jewish law, and especi ally of circumcision, in the Epistle to the Galatians makes it quite impossible to believe. How could the man who de clared that both circumcision and uncircumcision availed nothing, only faith energising in love, assign superior efficacy for the Christian life to any " weak and beggarly rudiments " (Gal. iv. 9) ~ It is surely to miss his intention to suppose that his argument is not directed against ritualism generally, but against the combination of Jewish with Christian ritualism. He who laid all emphasis on the sufficiency of faith alone to bring each believer into living union with God in Christ, thus giving the spirit of adoption and freedom of access, was no sacerdotalist. What would he have said of the figment of apostolic succession, who so vehemently claimed that he was an apostle, " not from man, neither through man, but through Jesus Christ, and God the Father" 1 We do best to view the Church with Paul from the standpoint of the faith, hope, and love that are in Christ the Lord. ALFRED E. GARVIE. THE HISTORICAL VALUE OF THE FOURTH GOSPEL. -
Giotto's Fleeing Apostle
Giotto’s Fleeing Apostle PAUL BAROLSKY —In memory of Andrew Ladis Ihave previously suggested in these pages that in the Humanities, to which this journal is dedicated, the doctrine of ut pictura poesis dominates our thinking to such an extent that we often make false or over-simplified equa- tions between texts and images, even though there is never an exact identity between words, which tell, and mute im- ages, which show. The falsifying equation between text and image is a corrupting factor in what is called “iconography,” the discipline that seeks, however imperfectly, to give verbal meaning to wordless images. Texts may suggest connota- tions or implications of images, but images never render the exact denotations of these texts. I would like to suggest here a single example of such a delicate if not fragile link between text and image—a case in which the artist begins with a text but transforms it into something other than what the words of the text describe. My example is found in the art of one of the great masters in the history of European art. I speak of Giotto. Of all the personages that Giotto painted in the Scrovegni Chapel, one of the most mysterious is the forbidding, hooded figure with his back to us, who clutches a drapery in his clenched fist in the left foreground of the Arrest of Jesus (fig. 1). This ominous figure leads us down a fascinating path. In his magisterial book Giotto’s O, Andrew Ladis ob- serves that the “anonymous henchman” has in his “rigid grasp” the robe of an “inconstant and indeterminate apostle who flees . -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
TRQ Layout Def 1-6 Web.Indd
The 2010 Rubenianum 2 Quarterly Rubenianum Fund gathers momentum Dear Friends of the Rubenianum, In the past few months, the Rubenianum Fund has continued to gather momentum. We are delighted to let you know that the The total amount raised so far already exceeds Euro 1.4 million from donors in results so far of the fundraising initiatives of Belgium, the United States, the Netherlands, the United Kingdom, France, Spain the Rubenianum Fund have been immensely and Switzerland. This is especially gratifying in these economically diffi cult times. encouraging. Only three weeks ago, on 21th It signifi es that the fi nal target of Euro 2 million is within reach, although obviously September to be precise, our colleagues of the quite a lot of ground still needs to be covered. Rubenshuis hosted a splendid fundraising dinner for the Dutch community of patrons The next fundraising event will take place in Madrid in the premises of the and collectors living in our country which was Fundacion Carlos de Amberes. This is a most appropriate location, as the Fundacion also attended by the Dutch consul–general. was established at the end of the 16th century by a Flemish merchant who came The benevolent and generous support of a to Madrid. Moreover, it houses an impressive Rubens Altarpiece depicting Saint growing number of international Donors and Andrew in its Chapel of San Andres de los Flamencos. Benefactors made it possible to hire two talented Madrid will also be the venue for the fi rst trip for the donors and benefactors of the junior staff members on a fulltime basis. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’
Research Master Thesis Art History of the Low Countries in its European Context Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’. Student: Adele-Marie Dzidzaria 0507954 Supervisor: Prof. Dr. Rudi Ekkart Utrecht University 2007 Table of contents Introduction....................................................................................................................3 1 Biography/Overview of Naiveu’s oeuvre ..............................................................5 1.1 From Leiden to Amsterdam...........................................................................5 1.2 From early genre to theatrical compositions..................................................8 1.3 Portraiture ....................................................................................................14 2 Historiographic context/ Theatricality in genre painting.....................................19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities..............................................................................................................24 4 Theatrical paintings - thematic sources and pictorial models..............................32 4.1 Out-door festivities and performances.........................................................32 4.2 In-door celebrations and amusements..........................................................56 5 Conclusion ...........................................................................................................62