Center 9 Research Reports and Record of Activities June 1988-May 1989
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Studien Zur Altägyptischen Kultur
Studien zur altägyptischen Kultur Herausgegeben von Jochem Kahl und Nicole Kloth Band 43 | 2014 Helmut Buske Verlag Hamburg SAK-43_Druck_x3_2014-12-15.pdf 3 Dezember 15, 2014 13:50:52 Die Studien zur Altägyptischen Kultur (SAK), gegründet 1974, erscheinen jährlich in ein bis zwei Bänden. Manuskripte erbeten an die Herausgeber oder an den Verlag: Helmut Buske Verlag GmbH Richardstraße 47 D-22081 Hamburg [email protected] Herausgeber: Prof. Dr. Jochem Kahl Dr. Nicole Kloth Freie Universität Berlin Sondersammelgebiet Ägyptologie Ägyptologisches Seminar Universitätsbibliothek Altensteinstr. 33 Plöck 107-109 D-14195 Berlin D-69117 Heidelberg [email protected] [email protected] Beirat: Prof. Dr. Hartwig Altenmüller (Hamburg) Prof. Dr. Manfred Bietak (Wien) Prof. Dr. Angelika Lohwasser (Münster) Prof. Dr. Joachim Friedrich Quack (Heidelberg) Alle Manuskripte unterliegen einer anonymisierten Begutachtung (peer review); über die An- nahme oder Ablehnung des Manuskripts entscheiden die Herausgeber. Über die Internetseite http://studien-zur-altaegyptischen-kultur.de sind die Formatvorlage sowie weitere Hinweise zur Erstellung von Manuskripten für die SAK zu finden. ISSN 0340-2215 (Studien zur Altägyptischen Kultur) ISBN 978-3-87548-692-6 © Helmut Buske Verlag GmbH, Hamburg 2014. Alle Rechte, auch die des auszugsweisen Nach- drucks, der fotomechanischen Wiedergabe und der Übersetzung, vorbehalten. Dies betrifft auch die Vervielfältigung und Übertragung einzelner Textabschnitte durch alle Verfahren wie Speiche- rung und Übertragung auf Papier, Filme, Bänder, Platten und andere Medien, soweit es nicht §§ 53 und 54 URG ausdrücklich gestatten. Bildbearbeitung, Druckvorstufe: Da-TeX Gerd Blumenstein, Leipzig. Druck: Strauss, Mörlenbach. Buchbinderische Verarbeitung: Schaumann, Darmstadt. Gedruckt auf säurefreiem, alterungsbeständigem Papier: alterungsbeständig nach ANSI-Norm resp. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Laurel Clark
F. F. BAILLIERE BOOK SELLER TO THE UNIVERSITY OF MELBOURNE BY LAUREL CLARK HE UNIVERSITY OF MELBOURNE WAS ESTABLISHED BY Act of Parliament in 1856. By 1860 the colonial book T seller and publisher Ferdinand Francois Bailliere had become a supplier to the University. The vouchers from the University Archives reveal that in February 1861 payment of £180 was made to Bailliere "in advance for periodicals for 1860 and 1861" and further payments were made in 1862 and 1864. 1 Bailliere was born in London, but he was a descendant of a French book selling and publishing family, who in the 19th cen- tury had international links He was born on 11 July 1838 at 219 Regent Street London, which was the address of the bookshop his father, Hippolyte, had opened that year. 2 Hippolyte's older brother Jean Baptiste had founded the business in Beauvais in France in 1826. Moving to Paris, Jean Baptiste concentrated on selling medical books, having located his business on Rue Hautefeuille, on the Left Bank near the university's medical faculty. The business moved into publishing, specialising in medical books. In England Hippolyte published over 150 titles, mostly medical and scientific, until his death in 1867. Medical books are still published in England under the Bailliere name, which is owned by the giant multi-national publisher Harcourt. The British Library has catalogues from the London book- shop in the 1830s. As well as London and Paris the family also established businesses in Madrid and by 1850 had moved across the Atlantic, establishing businesses in New York and Baltimore. -
Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Un Ecce Homo De Diego De Siloe
UN ECCE HOMO DE DIEGO DE SILOE María José Redondo Cantera y Miguel Angel Zalama Durante los nueve años transcurridos desde la vuelta de Diego de ^loe ^ gos, después de su estancia en Italia, hasta su instalación definitiva en Granada en 1528, la labor de este artista debió de ser fecunda. Sin embargo, no son muc las obras que se conozcan en las que interviniera, máxime cuando sa emos que en la ciudad castellana estaba asociado con su hermano Juan, también «ma^tro e yma ginería», y que ambos estaban al frente de un taller donde trabajaban menos o os dos colaboradores'. , .. _ Al regresar a la capital burgalesa, Diego de Siloe se encontró con un am en el que el peso de la tradición medieval comenzaba a ser desp aza o por a in ducción de un Renacimiento epidérmico, y con un mercado artístico presidido por el gran prestigio de que gozaba Felipe Bigamy entre la clientela e esta y e ^ras ciudades^. Por tales motivos Diego de Siloe pasaría largos perío os era e ur gos -en 1521-22 se encontraba en Jaén dando trazas para su catedral - en busca o al servicio de comitentes más proclives al gusto auténticamente renaciente que él traía de primera mano. Estos alejamientos de su ciudad natal permiünan explicar las obras relativamente escasas que incluso en los catálogos más amp ios se a s criben al artista en su etapa burgalesa. No obstante, debió de tener mas encargos • ZALAMA, Miguel Angel: «Diego y Juan de Siloe. Un dato para su biografía», B.S.A.A., t. -
Lecce Accoglie Caravaggio
LECCE ACCOGLIE CARAVAGGIO LECCE ACCOGLIE CARAVAGGIO (DI MICHELE CUPPONE) Mai così strettamente legate, mistero e opera di un Caravaggio errante nel meridione in cerca di riscatto, approdano dopo quattro secoli in terra salentina. Da sempre paese di accoglienza, Lecce si prepara alla stagione estiva ospitando in primo luogo l'illustre lombardo che, nelle più disparate celebrazioni di quest’anno, forse un po' inaspettatamente scopre a sua volta una città d'arte e capitale della cultura degna del suo talento. Qui sono di certo le sfavillanti e fastose architetture barocche l'episodio artistico di maggior pregio, in un territorio che non lesina importanti testimonianze di altri periodi storico-artistici: preistoria e protostoria, età messapica e romana, bizantina e normanna, rinascimentale e manierista, tardo manierista e barocca appunto. Frapposta e sovrapposta a queste ultime due, la vicenda del caravaggismo ebbe i suoi echi anche qui; allora si era al tempo dei Vicerè spagnoli, e la Napoli nella quale operò prolificamente il Merisi era il naturale punto di riferimento e centro di irradiazione di impulsi artistici per, nella fattispecie, i pittori locali. Nel capoluogo salentino, come hanno ricostruito gli studi di Antonio Cassiano e Pierluigi Leone de Castris, si trasferì, praticamente all’indomani della morte di Caravaggio, il partenopeo Paolo Finoglio, che veicolò il verbo caravaggesco di cui a Napoli fu uno dei primi seguaci; teneva a mente, oltre alle opere del Lombardo, che lì soggiornava negli stessi anni, quelle del suo più grande interprete napoletano Battistello Caracciolo o di un Carlo Sellitto, o ancora di pittori tardomanieristi che conobbero una, magari anche breve, stagione caravaggesca e naturalistica: Filippo Vitale e Ippolito Borghese. -
Kingston Lacy Illustrated List of Pictures K Introduction the Restoration
Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
NIT 2011 Natural Information Technologies
NIT 2011 Natural Information Technologies Madrid, october 4th – 7th Organizers ITHEA International Scientific Society Universidad Politécnica de Madrid (Spain) Institute of Mathematics and Informatics, Bulgarian Academy of Sciences (Bulgaria) Institute of Information Theories and Applications FOI ITHEA (Bulgaria) Institute for Informatics and Automation Problems, Armenian Academy of Sciences (Armenia) Association of Developers and Users of Intelligent Systems (Ukraine) Dorodnicyn Computing Centre of the Russian Academy of Sciences (Russia) Spanish Network on Biomolecular and Biocellular Computing (Spain) Conference Venue: Escuela Universitaria de Informática Crta. De Valencia Km. 7, 28031 Madrid http://www.foibg.com/conf/ITA2011/2011nit.htm NIT 2011 4th - 7th October 2011 PRELIMINARY PROGRAM Tuesday 4th 15:00 to 17:00 Registration Wednesday 5th FIRST SESSION – Moderator: Fernando Arroyo Montoro 10:00 – 10:30 Opening Session 10:30 – 11:30 Invited Speaker: Mario de J. Pérez Jimenez (Universidad de Sevilla, Spain) MEMBRANE SYSTEMS: A BIO-INSPIRED COMPUTING MODELLING FRAMEWORK Membrane systems provide a high level computational modeling framework which integrates the structural and dynamical aspects of biological phenomena in a compressive and relevant way. The inherent randomness, external noise and uncertainty in those phenomena are captured by using stochastic and probabilistic strategies. Rather than being an alternative to more classical modeling frameworks, like ordinary differential equations, membrane systems constitute a complementary approach to be used when the classical modeling approaches fail to specify and simulate certain population’s biology correctly. In this talk, a membrane system based general framework for modeling the dynamics of population biology computationally is presented, and some applications to phenomena at micro (quorum sensing) and macro (real ecosystem) levels are described. -
The La Trobe Journal No. 95 March 2015 End Matter
Notes 115 Notes Des Cowley, Robert Heather and Anna public – books, serials, pamphlets, music Welch: Editors’ introduction scores – but also works published in 1 Johanna Drucker, The Century of Artists’ other formats such as CD and DVD. The Books, New York: Granary Books, 1995, p. 1 Northern Territory, Tasmania and Western Australia include web-based publications. Helen Cole: Public collections of artists’ books 10 trove.nla.gov.au in Australia 11 Noreen Grahame was the first gallerist in Australia to actively promote artists’ 1 Any discussion of artists’ books is dogged books. Her first major exhibition of by the question of definition. This article artists’ books was in 1991 and, at this adopts a broad definition that includes time, she encouraged artists represented unique works, limited and commercial by the gallery to create their first artists’ editions, codexes, altered books, book books for the show. She organised five objects and everything in-between. It does Artists’ Books and Multiples fairs in not include zines, however, as institutions generally treat these separately. Brisbane, in 1994, 1996, 1998, 2001 and 2 Noreen Grahame, ‘The gallerist’s 2007, and presented Australian artists’ perspective’, paper presented at ‘The books at the Sydney Works on Paper Trouble with Artists’ Books’, Siganto Fair and the London Artists’ Books Foundation seminar, State Library of Fair. In 1994 Grahame extended into Queensland, 4 May 2013. A podcast of the publishing catalogues and artists’ books. seminar is available at: www.slq.qld.gov. Her catalogues for exhibitions and artists’ au/_slqmedia/video_and_audio_content/ books fairs constitute the most important art-and-design/siganto-seminar, accessed 21 sources of documentation of artists’ books November 2014 in Australia of this time.