Ter Brugghen's Saint Sebastian Tended by Irene
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Cbc Conservazione Beni Culturali
DIPINTI SU TAVOLA E MANUFATTI LIGNEI CBC CONSERVAZIONE BENI CULTURALI La Cooperativa CBC Conservazione Beni Culturali si è costituita nel 1977 tra restauratori provenienti dai corsi dell'Istituto Centrale del Restauro. E' attualmente formata da venti soci, il cui curriculum di studio è consultabile su questo sito. Opera sia per Enti pubblici (Soprintendenze regionali, Comuni, Musei Civici, etc.), che per privati, anche come strutture od Enti, sia in Italia che all’estero. Nel seguente curriculum si dà conto dettagliatamente dell'attività svolta nel settore specifico, suddivisa e ordinata per anno di esecuzione. Presso la sua sede laboratorio sono consultabili le documentazioni sia scritte che fotografiche dei lavori svolti, di cui è stata consegnata copia ai committenti; alcuni lavori sono inoltre stati oggetto di approfondimento e pubblicazione. Contatti Sede legale e laboratorio in Laboratorio in Via dei Priori, 84 Viale Manzoni, 26 - 00185 Roma 06123 Perugia Tel: 06-70.49.52.82 fax: 06-77.200.500 Tel: 075-57.31.532 Mail: [email protected] Mail: [email protected] Sito: www.cbccoop.it FB: @cbccoop Dati Amministrativi Codice Fiscale e numero d’iscrizione al Registro delle Imprese di Roma: N. 02681720583 P.IVA: N. 01101321006 – R.E.A. di Roma: N. 413625 del 12.03.1977 Albo Provinciale delle Imprese Artigiane: N. 133916 del 05.06.1980 Albo delle Società Cooperative al N. A125967 del 23.03.2005 Attestazione di qualificazione alla esecuzione dei lavori pubblici per la Categoria OS2A Classifica IV. DIPINTI SU TAVOLA E MANUFATTI LIGNEI In corso Teramo, Cattedrale di Santa Maria Assunta Jacobello del Fiore: Polittico raffigurante Incoronazione di Maria e Santi Segretariato Regionale per l’Abruzzo Fondazione Trivulzio Autori vari del sec. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Roma Subterranea
Roma Subterranea The Catacombs of Late Antique Rome | Marenka Timmermans 0 Illustration front page: After http://www.livescience.com/16318-photos-early-christian-rome-catacombs-artifacts.html 1 Roma Subterranea The Catacombs of Late Antique Rome Marenka Timmermans S0837865 Prof. dr. Sojc Classical Archaeology Leiden University, Faculty of Archaeology Leiden, June 15th, 2012 2 Marenka Timmermans Hogewoerd 141 2311 HK Leiden [email protected] +316-44420389 3 Table of Contents Chapter 1. Introduction 5 1.1 Research goal, methodology and research questions 5 Chapter 2. The origins and further development of the catacombs 7 2.1 Chapter summary 10 Chapter 3. Research performed in the catacombs up to the late 20th century 11 3.1 The 'rediscovery' 11 3.2 Early Catacomb Archaeology 13 3.2.1 Antonio Bosio 13 3.2.2 Giovanni di Rossi 14 3.3 Archaeological research in the late 19th and up to the late 20th century 17 3.4 Chapter conclusion 18 Chapter 4. Modern catacomb research 21 4.1 Demography 21 4.2 Science-based Archaeology 23 4.2.1 Stable isotope analysis 23 4.2.2 Radiocarbon dating 25 4.3 Physical Anthropology 26 4.4 Other sciences in and around the catacombs 27 4.5 Chapter Conclusion 28 Chapter 5. Discussion 31 Chapter 6. Conclusion 37 Summary 39 Samenvatting 41 Bibliography 43 List of Figures 49 List of Tables 51 Appendix I 53 Appendix II 57 3 4 Chapter 1. Introduction The subject of this BA-thesis is the catacombs of Late Antique Rome. The catacombs are formed by large subterranean complexes, consisting of extensive galleries. -
Saint Sebastian
SAINT SEBASTIAN In his semi-autobiographical novel Confessions of a Mask, the Japanese writer Yukio Mishima described his sexual awakening as a young boy when he came upon a reproduction of the martyrdom of Saint Sebastian, a painting by the late Renaissance artist Guido Reni. The event is transferred to the fictional narrator, but recalled the actual event that had proved so formative for Mishima. A remarkably handsome youth was bound naked to the trunk of a tree. His crossed hands were raised high, and the thongs binding his wrists were tied to the tree. No other bonds were visible, and the only covering for the youth's nakedness was a coarse white cloth knotted loosely about his loins... Were it not for the arrows with their shafts deeply sunk into his left armpit and right side, he would seem more a Roman athlete resting from fatigue... The arrows have eaten into the tense, fragrant, youthful flesh, and are about to consume his body from within with flames of supreme agony and ecstasy.' The boy's hands embarked on a motion of which he had no experience; he played with his 'toy': "Suddenly it burst forth, bringing with it a blinding intoxication... Some time passed, and then, with miserable feelings I looked around the desk I was facing... There were cloud-splashes about... Some objects were dripping lazily, leadenly, and others gleamed dully, like the eyes of a dead fish. Fortunately, a reflex motion of my hand to protect the picture had saved the book from being soiled. The martyrdom of Saint Sebastian would prove to be a pivotal theme in Mishima’s life and art to which he would return time and time again. -
Saint Sebastian of Rome
Saint Sebastian of Rome This weekly bulletin insert complements the curriculum published by the Department of Christian Education of the Orthodox Church in America. This and many other Christian Education resources are available at http://dce.oca.org. The Orthodox Church commemorates a martyr-saint we have in common with the Western Church. Most tourists in Rome, especially religious pilgrims, will visit a church or basilica named for Saint Sebastian, either the one on the Palatine Hill or the earlier fourth-century one built outside the Aurelian Walls. Sebastian, raised in Milan, was an ardent Christian from an early age. Though completely disinclined to military life, he knew that Christians were being persecuted, especially those in military service. He joined the army in about the year 283, intending to comfort and encourage his brothers in the faith. His help was soon needed by two brothers, Marcus and Marcellianus, who had been sentenced to death. Their faith was wavering, both from fear and because of the tearful pleadings of friends that they should not squander their lives. Sebastian gently but eloquently urged them not to exchange heavenly crowns for a longer earthly life. He spoke so powerfully that the jailer and many others who overheard were converted. The Roman governor learned of this and also was told that a man had been cured of gout while being instructed and prepared for baptism. The governor, who suffered greatly from gout, humbly asked the saint to cure him as well. After receiving healing and Christian instruction he not only was baptized with his son Tiburtius, but liberated the Christian prisoners, freed his own slaves and gave up his government position. -
Service Books of the Orthodox Church
SERVICE BOOKS OF THE ORTHODOX CHURCH THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM THE DIVINE LITURGY OF ST. BASIL THE GREAT THE LITURGY OF THE PRESANCTIFIED GIFTS 2010 1 The Service Books of the Orthodox Church. COPYRIGHT © 1984, 2010 ST. TIKHON’S SEMINARY PRESS SOUTH CANAAN, PENNSYLVANIA Second edition. Originally published in 1984 as 2 volumes. ISBN: 978-1-878997-86-9 ISBN: 978-1-878997-88-3 (Large Format Edition) Certain texts in this publication are taken from The Divine Liturgy according to St. John Chrysostom with appendices, copyright 1967 by the Russian Orthodox Greek Catholic Church of America, and used by permission. The approval given to this text by the Ecclesiastical Authority does not exclude further changes, or amendments, in later editions. Printed with the blessing of +Jonah Archbishop of Washington Metropolitan of All America and Canada. 2 CONTENTS The Entrance Prayers . 5 The Liturgy of Preparation. 15 The Divine Liturgy of St. John Chrysostom . 31 The Divine Liturgy of St. Basil the Great . 101 The Liturgy of the Presanctified Gifts. 181 Appendices: I Prayers Before Communion . 237 II Prayers After Communion . 261 III Special Hymns and Verses Festal Cycle: Nativity of the Theotokos . 269 Elevation of the Cross . 270 Entrance of the Theotokos . 273 Nativity of Christ . 274 Theophany of Christ . 278 Meeting of Christ. 282 Annunciation . 284 Transfiguration . 285 Dormition of the Theotokos . 288 Paschal Cycle: Lazarus Saturday . 291 Palm Sunday . 292 Holy Pascha . 296 Midfeast of Pascha . 301 3 Ascension of our Lord . 302 Holy Pentecost . 306 IV Daily Antiphons . 309 V Dismissals Days of the Week . -
The Arts Thrive Here
Illustrated THE ARTS THRIVE HERE Art Talks Vivian Gordon, Art Historian and Lecturer at the Metropolitan Museum of Art, will present the following: REMEMBERING BIBLICAL WOMEN ARTISTS IN THEIR STUDIOS Monday, April 13, at 1PM Wednesday, May 20, at 1PM Feast your eyes on some of the most Depicting artists at work gives insight into the beautiful paintings ever. This illustrated talk will making of their art as well as their changing status examine how and why biblical women such as in society.This visual talk will show examples Esther, Judith, and Bathsheba, among others, from the Renaissance, the Impressionists, and were portrayed by the “Masters.” The artists Post-Impressionists-all adding to our knowledge to be discussed include Mantegna, Cranach, of the nature of their creativity and inspiration. Caravaggio, Rubens, and Rembrandt. FINE IMPRESSIONS: CAILLEBOTTE, SISLEY, BAZILLE Monday, June 15, at 1PM This illustrated lecture will focus on the work of three important (but not widely known) Impressionist painters. Join us as Ms. Gordon introduces the art, lives and careers of these important fi gures in French Impressionist art. Ines Powell, Art Historian and Educator at the Metropolitan Museum of Art, will present the following: ALBRECHT DURER and HANS HOLBEIN the ELDER Thursday, April 23, at 1PM Unequaled in his artistic and technical execution of woodcuts and engravings, 16th century German artist Durer revolutionized the art world, exploring such themes as love, temptation and power. Hans Holbein the Elder was a German painter, a printmaker and a contemporary of Durer. His works are characterized by deep, rich coloring and by balanced compositions. -
Theological Studies, Inc
r Λ theological VOLUME 37 NUMBER 2 studies JUNE 1976 Published by Theological Studies, Inc. for the Theological Faculties of the Society of Jesus in the United States TABLE OF CONTENTS ARTICLES The Matthean Divorce Texts and Some New Palestinian Evidence Joseph A. Fitzmyer, S.J. 197 The Decline of Ecstatic Prophecy in the Early Church James L. Ash, Jr 227 CURRENT THEOLOGY Theology on the Virgin Mary: 1966-1975 Eamon R. Carroll, O.Carm 253 NOTES Public Theology in America: Some Questions for Catholicism after John Courtney Murray David Hollenbach, S.J. 290 Method in Fundamental Theology: Reflections on David Tracy's Blessed Rage for Order Avery Dulles, S J. 304 r \ BOOK REVIEWS 317 KINGSBURY, J D Matthew Structure, Christology, Kingdom BANKS, R Jesus and the Law in the Synoptic Tradition MENOUD. Ρ Η Jesus-Christ et la foi GRILLMEIER, A Mit Ihm und in Ihm RAHNER, Κ Theological Investigations 13 CORTÉS J Β , and F M GATTI The Case against Possessions and Exorcisms RODE WYK, A Possessed by Satan MURRAY, R Symbols of Church and Kingdom GREER, R A The Captain of Our Salvation DIDEBERG, D Saint Augustin et la premiere epìtre de samt Jean RUSSELL, F M The Just War m the Middle Ages EDWARDS, M U Luther and the False Brethren PARKER, Τ H L John Calvin HAIGH, C Reformation and Resistance m Tudor Lancashire PULLAPILLY, C Κ Caesar Baronius Lord Acton and the First Vatican Council (ed E Campion) HOPPER, D H A Dissent on Bonhoeffer HÀRLE, W Sem und Gnade Die Ontologie m Karl Barths Kirchlicher Dogmatik PESCHKE, C H Christian Ethics SWYHART, BAD Bioethical -
St. George Orthodox Church of Prescott Sunday, December 18, 2016 Sunday, December 18, 2016—Sunday Before Nativity 8:30AM Orthros Served by Fr
This Week at St. George St. George Orthodox Church of Prescott Sunday, December 18, 2016 Sunday, December 18, 2016—Sunday before Nativity 8:30AM Orthros Served by Fr. Jeffrey Frate 9:30AM Divine Liturgy Tuesday, December 20, 2016 607 W GURLEY STREET, PRESCOTT, AZ 86305 928-777-8750 WWW.PRESCOTTORTHODOX.COM 6:00PM-7:00PM Confessions Wednesday, December 21, 2016 And David was the father of Solomon by the wife of The Epistle Reading is from St. Paul's Letter 6:30PM Forefeast Vespers with Compline Canon Uriah, and Solomon the father of Rehoboam, and to the Hebrews 11:9-10; 32-40 Friday, December 23, 2016 Rehoboam the father of Abijah, and Abijah the father 9:00AM Royal Hours for the Feast of Nativity BRETHREN, by faith Abraham sojourned in the land of Asa, and Asa the father of Jehoshaphat, and 6:00PM-7:00PM Confessions of promise, as in a foreign land, living in tents with Jehoshaphat the father of Joram, and Joram the Isaac and Jacob, heirs with him of the same promise. father of Uzziah, and Uzziah the father of Jotham, Saturday, December 24, 2016 For he looked forward to the city which has and Jotham the father of Ahaz, and Ahaz the father 9:00AM Matins foundation, whose builder and maker is God. of Hezekiah, and Hezekiah the father of Manasseh, 10:00AM Divine Liturgy for Eve of Nativity and Manasseh the father of Amos, and Amos the And what more shall I say? For time would fail me to 5:00PM Great Vespers for Nativity father of Josiah, and Josiah the father of Jechoniah tell of Gideon, Barak, Samson, Jephthah, of David and his brothers, at the time of the deportation to Sunday, December 25, 2016 and Samuel and the prophets - who through faith Babylon. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca. -
Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527
RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces.