Caesar Or Nothing the Borzoi Spanish Translations
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Descriptive Catalogue of the Bowdoin College Art Collections
Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1895 Descriptive Catalogue of the Bowdoin College Art Collections Bowdoin College. Museum of Art Henry Johnson Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bowdoin College. Museum of Art and Johnson, Henry, "Descriptive Catalogue of the Bowdoin College Art Collections" (1895). Museum of Art Collection Catalogues. 11. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/11 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. BOWDOIN COLLEGE Desgriptive Catalogue OF THE Art Collections DESCRIPTIVE CATALOGUE OF THE BOWDOIN COLLEGE ART COLLECTIONS BY HENRY JOHNSON, Curator BRUNSWICK, ME. 1895 PUBLISHED BY THE COLLEGE. PRINTED AT JOURNAL OFFICE, LEWISTON, ME. Historical Introduction. The Honorable James Bowdoin, only son of the emi- nent statesman and patriot, Governor James Bowdoin of Massachusetts, returned to this country in 1809 from Europe, where he had been engaged in important diplomatic missions for the United States government. His death occurred in 1811. He bequeathed to the College, besides his library and other valuable property, his collection of paintings, seventy in number, brought together chiefly in Europe, and two portfolios of drawings. The drawings were received by Mr. John Abbot, the agent of the College, December 3, 1811, along with the library, of which they were reckoned a part. -
AP Art History Chapter 24 Questions: the Baroque in Italy and Spain
AP Art History Chapter 24 Questions: The Baroque in Italy and Spain 1. Gianlorenzo Bernini was _____, _____, ______, _______, and stage designer. It was one of the most important and ______ artists of the _____ era in Italy. He had been the favorite sculpture of ____ who spent so much on art that he nearly bankrupted the Vatican treasury. (659) 2. Who were the patron and sculptor for the Fountain of Four Rivers? How did he win this commission?) (669) 3. What is typical of Baroque art? (670) 4. Describe how Santa Susanna stands as one of the earliest manifestation of Baroque artistic spirit? (670‐671) 5. Describe Bernini’s new design for Saint Peter’s (672) 6. How does Bernini’s baldacchino serve as function and symbolic purpose? It was created in the lost‐wax process. Define the lost wax process. (page 130) Define chasing. (673) 7. Compare Bernini’s David to Donatello’s, Michelangelo’s, and Verrocchio’s David. Discuss the similarities and differences. How is this typical of the Baroque style? (674) 8. How does Bernini incorporate architecture, sculpture, and painting in his Ecstasy of Saint Teresa in the Cornaro chapel? (675) 9. Describe Borromini innovative Baroque style in the façade of San Carol alle Quattro Fontane, Rome, Italy. (676) 10. Describe Borromini’s plan for the Chapel of Saint Ivo? (678) 11. What was the Bolognese academy and who established it? (679) 12. Describe how Carracci’s, Flight into Egypt, was an idealize landscape and idealize life? (679) 13. How were the patron and artist of the Loves of the Gods ceiling frescos? How does this compare to the ceiling of the Sistine Chapel by Michelangelo? (680) 14. -
The Eleven Caesars Sample Question Paper
Oxford Cambridge and RSA A Level Ancient History H407/22 The Eleven Caesars Sample Question Paper Date – Morning/Afternoon Time allowed: 2 hours 30 minutes You must have: the OCR 12-page Answer Booklet (OCR12 sent with general stationery) Other materials required: None INSTRUCTIONS Use black ink. Complete the boxes on the front of the Answer Booklet. There are two sections in this paper: Section A and Section B. In Section A, answer Question 1 or 2 and Question 3. In Section B, answer Question 4 and Question 5 or 6. Write the number of each question clearly in the margin. Additional paper may beSPECIMEN used if required but you must clearly show your candidate number, centre number and question number(s). Do not write in the bar codes. INFORMATION The total mark for this paper is 98. The marks for each question are shown in brackets [ ]. Quality of extended response will be assessed in questions marked with an asterisk (*) This document consists of 4 pages. © OCR 2016 H407/22 Turn over 603/0805/9 C10056/3.0 2 Section A: The Julio-Claudian Emperors, 31 BC–AD 68 Answer either question 1 or question 2 and then question 3. Answer either question 1 or question 2. 1* To what extent was there discontent with the emperors during this period? You must use and analyse the ancient sources you have studied as well as your own knowledge to support your answer. [30] 2* How important a role did imperial women play during the reigns of Claudius and Nero? You must use and analyse the ancient sources you have studied as well as your own knowledge to support your answer. -
OCR a Level Ancient History H407 Specification
A LEVEL Ancient History A LEVEL Specification ANCIENT HISTORY H407 For first assessment in 2019 Version 1.1 (April 2018) ocr.org.uk/alevelancienthistory Disclaimer Specifications are updated over time. Whilst every effort is made to check all documents, there may be contradictions between published resources and the specification, therefore please use the information on the latest specification at all times. Where changes are made to specifications these will be indicated within the document, there will be a new version number indicated, and a summary of the changes. If you do notice a discrepancy between the specification and a resource please contact us at: [email protected] We will inform centres about changes to specifications. We will also publish changes on our website. The latest version of our specifications will always be those on our website (ocr.org.uk) and these may differ from printed versions. Registered office: © 2018 OCR. All rights reserved. 1 Hills Road Cambridge Copyright CB1 2EU OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from OCR is an exempt charity. this specification booklet for their own internal use. Oxford Cambridge and RSA is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Contents 1 Why choose an OCR A Level in Ancient History? 2 1a. Why choose an OCR qualification? 2 1b. Why choose an OCR A Level in Ancient History? 3 1c. What are the key features of this specification? 4 1d. What is new in OCR A Level in Ancient History? 4 1e. -
Bernini Breaking Barriers – Sensuality Sculpted in Stone
Bernini Breaking Barriers – Sensuality Sculpted in Stone Sandra Mifsud Bonnici [email protected] Abstract This paper will attempt to demonstrate that with his virtuosity, the Baroque sculptor, Gian Lorenzo Bernini managed to challenge the barriers which the medium he worked with, namely stone (marble) offered, to produce dynamic, lifelike and realistic works that also managed to express a previously unknown element in sculpture, that of sensuality. It will try to highlight how the spiritual and physical could come together in his works. The first masterpiece that will be focused upon will be the portrait bust of Bernini’s lover Costanza Piccolomini, a private work Bernini sculpted when he was thirty-nine years of age, chosen to represent the passion and worldly love that he felt for this woman. By way of contrast, the second masterpiece studied in this paper is the figure of the Blessed Ludovica Albertoni, one of his last works, chosen to represent Bernini’s concept of the culmination of spiritual love that also incorporated a sensual element. The third and final masterpiece is the ecstasy of St. Teresa of Avila found in the Cornaro Chapel in the Church of Santa Maria della Vittoria, considered by many as his greatest work, as an example of how mysticism also has a sensual element to it. Keywords: Baroque sculpture, Gian Lorenzo Bernini, sensuality, Costanza Piccolomini, Ludovica Albertoni, St Teresa d’Avila. No one can deny that Gian Lorenzo Bernini had the extraordinary technical skill and expertise to sculpt anything that he visualised or saw. The numerous works of art that he continued to create into his maturity and almost up to his death are evidence of this. -
Wines Come Together in Perfect Harmony
Where we are How - exits from the A21, A26 and A7 motorways - railway stations at Acqui Terme, Alessandria, Casale www.alexala.it to find us Monferrato, Novi Ligure, Ovada, Tortona and Valenza www.provincia.alessandria.it Alessandria is at the crossroads between regions, cultures and culinary Distances: cities traditions that have different origins but the same prestige. We have taken all 95km from Milan the most precious elements of these different sources and have melded them 90km from Turin together in a cradle of tastes, aromas and sensations that is rare, even for Italy. 85km from Genoa We are in the south-east corner of Piedmont, at the centre of a triangle formed Distances: airports by the cities of Turin, Milan and Genoa, all three being easily reached by car, 150km from Bergamo Orio al Serio our district being criss-crossed by the A21 Turin-Piacenza, A26 Santhià-Genoa 120km from Milan Malpensa and A7 Milan-Genoa motorways. 110km from Milan Linate 105km from Turin Caselle 80km from Genoa Cristoforo Colombo 1 The region Alessandria - 3560km2 surface area, 435,000 inhabitants www.alexala.it and Province - Mediterranean climate www.provincia.alessandria.it The Province of Alessandria has a surface area of 3,560km2 and some Our district 435,000 inhabitants. Its Mediterranean climate and geographic make up of plain (35%), hill (53%) and mountain (12%), gives visitors an ample choice 12% when they come to experience the natural beauty of this special corner of Piedmont. The pleasant weather of spring and summer makes this the ideal spot for people who are keen on sporting activities, whilst the autumn and winter are for those who enjoy the pleasures of the table, where good food and splendid 35% wines come together in perfect harmony. -
Downloaded from Brill.Com10/06/2021 05:38:06AM Via Free Access
Chapter �� The Musaeum: Its Contents 12.1 Introduction When Strada in 1568 thanked Duke Guglielmo of Mantua for the benefice conferred on his elder son Paolo, he offered the use of his house to the Duke, providing a brief description of its contents and adding that ‘most of these things have been seen by all those gentlemen of the court of Your Excellency that have been here [in Vienna]’.1 This confirms the accessibility of Strada’s Musaeum and the representative function it fulfilled. To have any idea of the impact the Musaeum had on such visitors, it is useful to provide a quick sketch of its contents. A sketch, an impression: not a reconstruction. There are a number of sourc- es which give a very elementary impression of what Strada’s studiolo may have looked like, and there are some other sources which give slightly more con- crete information on which specific objects, or type of objects, passed through his hands. Some of these—in particular the large-scale acquisitions of antique sculpture for the Duke of Bavaria in 1566–1569—were certainly not intended for Strada’s own collection, and they did never even come to Vienna. In most cases the information is too scanty to identify objects mentioned with any cer- tainty, or to determine what their destination was. We just do not know wheth- er Strada bought them on behalf of the Emperor, whether he bought them on commission from other patrons, whether he bought them on speculation— that is as a true art-dealer, hoping to sell them to the visitors of his house or dispose of them advantageously in some other way—or whether he bought them after all just for his own collection. -
Titian 10079667.Pdf
— AT I T DUC S S OF U B I NO. n i i e PL E . HE HE R Fro t sp ec n h ffizi Galler o n (I t e U y, Fl re ce) ‘ This portrait of the Duchess of Urbino from the Uflizi must not i P alace T be confused with the portra t of the Duchess in the Pitti . he here is E G z D Urbm o sitter leonora on aga , uchess of , and the portrait was painted somewhere between the years I 536 and I 538 at a period when the master’ s art had ripen ed almost to the point of its highest achievement. L I S T OF I L L US T RA T I O NS P late 1 The Du chess of U rbino . Frontispiece I n the Ufiizi G alle F lo e nce ry, r I I . L a B ella I n the P l ttl P alace Flo e nce , r m men I I I . The E nto b t I n the L ou v re l F m l I V . The Ho y a iy I n the Uflizx G alle F lo ence ry, r f t C therine V . T he M arriage o S . a I n the P itt: P alace F lo e nce , r V I . Flora I n the 05 21 G alle F lo ence ry, r V I I . S acred and P rofane L ov e . I n the B o he se P alace Rome rg , T h ol V I I I . -
Architektura Włoskiego Baroku W Służbie Władzy I Kontrreformacji
ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI Joanna Arlet ARCHITEKTURA WŁOSKIEGO BAROKU W SŁUŻBIE WŁADZY I KONTRREFORMACJI TEKA ZACHODNIOPOMORSKA NR 4/2018 MONOGRAFIA Szczecin 2018 Wydanie publikacji zrealizowano przy udziale środków finansowych otrzymanych z budżetu Województwa Zachodniopomorskiego Recenzenci: Prof. dr hab. inż. arch. Zbigniew Paszkowski Prof. dr hab. inż. arch. Andrzej Białkiewicz Projekt okładki: Jakub Gołębiewski Redakcja: Wojciech Markowski Wydano za zgodą Rektora Zachodniopomorskiego Uniwersytetu Technologicznego w Szczecinie Publikacja finansowana z dotacji Województwa Zachodniopomorskiego Copyright © by Zachodniopomorski Uniwersytet Technologiczny w Szczecinie, Szczecin 2018 Copyright © by Joanna Arlet, Szczecin 2018 Wydanie II (uzupełnione) Wydawnictwo z serii: TEKA ZACHODNIOPOMORSKA Nr 4/2018 Redaktor serii: prof. dr hab. inż. arch. Zbigniew Paszkowski Komitet Redakcyjny: dr hab. inż. arch. Aleksandra Satkiewicz-Parczewska dr inż. arch. Joanna Arlet dr inż. arch. Ewa Augustyn-Lendzion dr inż. arch. Piotr Fiuk dr inż. arch. Izabela Kozłowska dr inż. arch. Maciej Płotkowiak dr inż. arch. Agnieszka Rek-Lipczyńska Adres do korespondencji: TEKA ZACHODNIOPOMORSKA Katedra Historii i Teorii Architektury Wydział Budownictwa i Architektury Zachodniopomorski Uniwersytet Technologiczny w Szczecinie ul. Żołnierska 50, 71-210 Szczecin email: [email protected] www.tekazachodniopomorska.pl Wydawnictwo hogben al. Papieża Jana Pawła II 7,8 U2B, 70-415 Szczecin ISBN 978-83-63868-94-9 Skład i druk: printshop.szczecin.pl SPIS TREŚCI WPROWADZENIE ZAŁOŻENIA I CEL PUBLIKACJI. 9 ZAKRES I METODA BADAŃ. 10 STAN BADAŃ ORAZ PRZEGLĄD ŹRÓDEŁ I LITERATURY . 10 POCZĄTKI BAROKU W RZYMIE PRZESŁANKI I TŁO HISTORYCZNE. 17 REFORMACJA I JEJ ODDZIAŁYWANIE NA SPOŁECZEŃSTWA EUROPY I PAŃSTWO KOŚCIELNE. 21 TWÓRCZOŚĆ GIACOMA BAROZZI DA VIGNOLI JAKO PREKURSORA BAROKU, MECENAT KARDYNAŁA ALESSANDRO FARNESE . -
Inter Cultural Studies of Architecture (ICSA) in Rome 2019
Intercultural Understanding, 2019, volume 9, pages 30-38 Inter Cultural Studies of Architecture (ICSA) in Rome 2019 A general exchange agreement between Mukogawa Women’s University (MWU) and Bahçeúehir㻌 University (BAU) was signed㻌 on December 8, 2008. According to this agreement, 11 Japanese second-year master’s degree students majoring in architecture visited Italy from February 19, 2019, to March 2, 2019. The purpose of “Intercultural Studies of Architecture (ICSA) in Rome” program is to gain a deeper understanding of western architecture and art. Italy is a country well known for its extensive cultural heritage and architecture. Many of the western world’s construction techniques are based, on Italy’s heritage and architecture. Therefore, Italy was selected as the most appropriate destination for this program. Based on Italy’s historic background, the students were able to investigate the structure, construction methods, spatial composition, architectural style, artistic desires based on social conditions, and design intentions of architects and artists for various buildings. This year’s program focused on “ancient Roman architecture and sculpture,” “early Christian architecture,” “Renaissance architecture, sculpture, and garden,” and “Baroque architecture and sculpture. ” Before the ICSA trip to Rome, the students attended seminars on studying historic places during their visit abroad and were asked to make a presentation about the stuff that they learned during these seminars. During their trip to Rome, the students had the opportunity to deepen their understanding of architecture and art, measure the height and span of architecture, and draw sketches and make presentations related to some sites that they have visited. A report describing the details of this program is given below. -
A Baroque Denouement: the Direct Influence of Theatre on Bernini's Artistic Work
A Baroque Denouement: The Direct Influence of Theatre on Bernini's Artistic Work Item Type text; Electronic Thesis Authors Francesco, Amelia Rose Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:08:30 Link to Item http://hdl.handle.net/10150/627776 A BAROQUE DENOUEMENT: THE DIRECT INFLUENCE OF THEATRE ON BERNINI’S ARTISTIC WORK By Amelia Francesco ____________________________________________________ Copyright © Amelia Francesco 2017 A Thesis Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College UNIVERSITY OF ARIZONA 2017 Francesco 2 STATEMENT BY AUTHOR This thesis titled A Baroque Denouement: The Direct Influence of Theatre on : Bernini’s Artistic Work prepared by Amelia Francesco has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. -
096-Santa Maria Della Vittoria
(096/11) Santa Maria della Vittoria Santa Maria della Vittoria is a 17th century baroque is titular and conventual church in Rome dedicated to the Blessed Virgin, under her title of Our Lady of Victory. For wealth, harmony and beauty, this church is one of the most representative monuments of the baroque style. History The present church is on the site of a very small but ancient chapel dedicated to St Paul, which had a hermitage attached for one hermit in the early 16th century. He justified his social existence by helping travelers caught out by darkness, bad weather and the threat of robbery. Back then, the area was entirely rural to the point where the Roman nobility used to go hunting and shooting birds hereabouts, especially in the deserted and overgrown ruins of the Baths of Diocletian nearby. (1) In the reign of Pope Paul V, however, the little chapel was demolished and replaced with a bigger edifice called San Paolo alla Fontana Felice (St Paul of the Happy Fountain), after a new acqueduct which had its terminus at the fountain across the road. (1) The present church was built by the Discalced Carmelite Friars, who purchased the church and some land adjacent in 1607. Initially they financed the work themselves, but when clearing the foundations discovered a superb pagan statue, called the Borghese Hermaphrodite, which is now in the Louvre. Cardinal Scipione Borghese made a deal with them, whereby he obtained the statue in exchange for paying for the work. Construction by the friars started in 1608, under the direction of Carlo Maderno, but the Cardinal's architect Giovanni Battista Soria was also involved after 1624 and it was he who designed the façade.