BRUSSELS, LUXEMBOURG and STRASBOURG October 4 to 13, 2021
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Verbal Pentimento in Donna Tartt’S the Goldfinch
Vilnius University Faculty of Philology Department of English Philology Marija Petravičiūtė The Art of Mourning: Verbal Pentimento in Donna Tartt’s The Goldfinch Thesis submitted in partial fulfilment of requirements for the degree of MA in English Studies Academic advisor: dr. Rūta Šlapkauskaitė 2017 Contents: Abstract ................................................................................................................. 3 1. Introduction ..................................................................................................... 4 2. The Matter of Matter: A Theoretical Frame ................................................. 11 3. The Denial of Death: Art and the Illusion of Presence ................................. 20 4. Conclusions ................................................................................................... 36 Summary in Lithuanian ....................................................................................... 37 References ........................................................................................................... 38 Appendix ............................................................................................................. 40 2 Abstract The present MA paper aims to examine Donna Tartt’s The Goldfinch (2013), a novel which is primarily preoccupied with the themes of art and death. Seeing as one of the purposes of this thesis is to establish relevant connections between the logic of still life paintings, the protagonist’s life choices and, consequently, his -
Brussels Visitor Satisfaction
BRUSSELS VISITOR SATISFACTION (source: online satisfaction questionnaire https://visit.brussels/qualitydestination ) 12-Month BAROMETER 01/10/2017 - 30/09/2018 © visit.brussels Contact: [email protected] P. 1 VISITOR SATISFACTION October 2017-September 2018 12 Months (343 questionnaires) FOREWORD This visitor satisfaction 12-month barometer gives some highlights of visit.brussels online satisfaction survey https://visit.brussels/qualitydestination, which is part of the Quality Scheme for Brussels tourism. The survey is completed on a voluntary basis. Face-to-face interviews are also performed once in a while in touristic areas of Brussels, at random. Therefore, the survey does not at all pretend to be “scientific” or to be a true reflection of what all visitors think or feel about our destination. Nevertheless, we consider it is a useful tool for our future visitors, Brussels tourism professionals and public authorities. Because your appreciation and comments help us to create a world of real hospitality, your participation in this questionnaire is very important to us. Thank you for your valuable input! The visitor satisfaction report is updated every month - available on https://visit.brussels/satisfaction. ANYTHING TO SAY ABOUT BRUSSELS? WE WANT TO HEAR IT! TOGETHER, LET’S SHAPE THE QUALITY OF TOMORROW! CONTENT Edition September 2018 Overall satisfaction P. 3 Reasons for visiting Brussels P. 4-6 Radioscopy P. 6-8 Travelers’ Reviews P. 9-33 © visit.brussels Contact: [email protected] P. 2 VISITOR SATISFACTION -
III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e. -
Carel Fabritius (Middenbeemster 1622 – 1654 Delft)
Carel Fabritius (Middenbeemster 1622 – 1654 Delft) How To Cite Bakker, Piet. "Carel Fabritius." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. In studying the life and work of Carel Fabritius, one soon notices that scholarly interest in his artistry focuses on two different “periods”: a real one and an imagined one. Naturally, the most attention is given to Carel’s actual career, which began around 1641 and ended in 1654. Then there is the great speculation regarding the period that never existed, but which could have, had his life not been cut short by the devastating explosion of the powder magazine in Delft in 1654. Only thirteen paintings have been firmly attributed to him, and his limited artistic legacy is sorely lamented. Famous paintings likeThe Goldfinch[1] andThe Sentry[2] bespeak such originality and artistic quality that we can only regret all the works he never painted. Unfortunately, his untimely death has made it virtually impossible to determine whether his talent would have eventually been great enough to equal, if not surpass, that of his teacher, Rembrandt van Rijn (1606–69). Fabritius’s parents were Pieter Carelsz and Barbertje van der Maes. He was baptized in Middenbeemster, a village just north of Amsterdam, on 27 February 1622.[3] His father worked there as a sexton, a schoolteacher and, in “the spare time outside school,” also as a painter.[4] Thus Carel, like his brothers Barent (1624–73) and Johannes, must have received his first painting lessons from his father. -
Painting in the Dutch Golden
NATIONAL GALLERY OF ART | DIVISION OF EDUCATION Age Golden Dutch the in Painting DEPARTMENT OF EDUCATION PUBLICATIONS Painting in the Dutch Golden Age Classroom Guide Classroom Guide NATIO N AL GALLERY OF OF GALLERY AL A RT, WASHI RT, NATIONAL GALLERY OF ART NG WASHINGTON TO N Painting in the Dutch Golden Age Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON Contents How to Use This Booklet 1 1 Profile of the Dutch Republic 3 BACKSTORY Topography 4 A Unique Land 5 The Challenges of Water Today 7 BACKSTORY Cities 8 Location, Location, Location 9 BACKSTORY Government 13 A New Republican Government 15 Parallels between Dutch and U.S. Independence 16 Terms, Supplemental Materials, and Other Resources 18 2 A Golden Age for the Arts 21 BACKSTORY 22 What Do You Know and What Can You See? 23 Why Do We Like It? 25 Forged! 27 Where We Look at Art 29 Stories behind the Art 29 Terms, Supplemental Materials, and Other Resources 30 3 Life in the City and Countryside 31 7 Portraiture 59 BACKSTORY 32 BACKSTORY 60 One Skater, Two Skaters... 35 Fashion, Attitude, and Setting — Then and Now 61 Seventeenth-Century Winters 36 What Might Each Picture Tell You about Terms and Other Resources 38 Its Subject? 63 Supplemental Materials and Other Resources 64 4 Landscape Painting 39 BACKSTORY 40 8 History Painting 65 Approaches to Landscape Painting 41 BACKSTORY 66 Narrative and Non-narrative Painting 43 Rembrandt and Biblical Stories 68 Terms and Supplemental Materials 44 Contrasting Narrative Strategies in History Painting 69 5 Genre Painting 45 Picturing the -
An Oasis of Serenity in the Bustling City This Document and Illustrations Are for Information Purposes Only and Are Not Contractual
An oasis of serenity in the bustling city This document and illustrations are for information purposes only and are not contractual. Architect: A.D.E. Architects 2 PROJECT LOCATION NEIGHBOURHOOD 05 09 10 YOUR UNITS CONTACT APARTMENT 14 16 20 3 4 PROJECT NEW DEVELOPMENT: PARK WEST Enjoy smart living with park views, settle in the heart of to subway, tram, train and bus stations as well as to main Europe, invest in the greenery of Brussels! arteries, you will easily connect to work, shops, bars, Park West is the newest high-end residential project restaurants and major cultural institutions in Brussels. of BPI. With a limited 62 residential units (1-3 rooms), And don’t forget, you don’t need to go far to get away: parkings and bike spaces, Park West will allow you to the Cinquantenaire Park and its 30 hectares of scenic experience all the city can offer and more. greenery is just in front of your window. In the middle of a transportation hub, with direct access So smile, relax and live smart! 5 EXPERIENCE SPACE IN STYLE 6 Make yourself at home and invest in Park West: a next You want to go out and live the city or relax in the generation and premium residential building. Cinquantenaire Park or in the Leopold Park nearby? Look through the large windows or step out on the Don’t worry, your place at Park West stays just a few balcony and enjoy magnificent park views. steps away. 7 JOYEUSE ENTRÉE AVENUE 6-8 32 AUDERGHEM AVENUE 34-38 1000 BRUSSELS PLACE DES CHASSEURS 2 min walk from the 1 min walk from ARDENAIS subway Schuman Cinquantenaire Park -
Dutch Art, 17Th Century
Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders. -
Press Release
SPECIAL EXHIBITION SHOP FOR VERMEER, REMBRANDT, AND HALS Open through January 19, 2014 For the first time in the institution’s history, the Frick has opened an additional Museum Shop space within the building to accompany a special exhibition. Here, visitors will find a rich array of gift items inspired by works in the highly attended fall and winter show Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis. These gifts include mugs, tote bags, t-shirts, watches, calendars, and wooden puzzles. Among the related stationary items are note cards, notebooks, and sketch pads. At the heart of the exhibition is Vermeer’s Girl with a Pearl Earring, and interest in seeing this work―which has not been shown in New York City in almost thirty years―has resulted in an offering of pearl-related gifts as well as a showcase of cultured and natural pearl jewelry. The exhibition shop also carries a wide selection of publications. A top seller is the beautifully illustrated exhibition catalogue, which guides readers through the highlights of the magnificent collection of the Royal Picture Gallery Mauritshuis in The Hague. The book features thirty-five masterpieces of portraiture, landscape, genre painting, history, and still-life painting. Together the essays and entries offer an overview of the extraordinary world of the seventeenth-century Dutch Golden Age. Also available in the shop is the critically acclaimed novel The Goldfinch, by Donna Tartt, inspired by the Carl Fabritius painting of the same name. Fans of the painting―which has proven to be a highlight of the exhibition―will find in the shop a Goldfinch tote bag, mug, and other related items. -
Dickens After Dickens, Pp
CHAPTER 6 ‘The Thing and Not the Thing’: The Contemporary Dickensian Novel and Donna Tartt’s The Goldfinch (2013) Rob Jacklosky, College of Mount Saint Vincent The reviews were in, and they were unanimous. Donna Tartt’s The Goldfinch (2013) was Dickensian. Michiko Kakutani of The New York Times wrote, ‘In this astonishing Dickensian novel, Mrs Tartt uses her myriad talents—her tactile prose, her knowledge of her characters’ inner lives, her instinct for suspense—to immerse us in a fully imagined world’ (Kakutani C1). The New York Times Book Review’s 10 Best Books of 2013 called the book ‘Intox- icating … like the best of Dickens, the novel is packed with incident and populated with vivid characters’ (‘10 Best’ 12). In USA Today, Kevin Nance wrote, ‘A massively entertaining, darkly funny new book that goes a long way toward explaining why its author is finally securing her place alongside the greatest American Novelists of the past half century, including … Philip Roth, Toni Morrison and that other latter-day Dickensian, John Irving’ (Nance). And finally, providing a kind of keynote for this chapter, Jessica Duffin Wolfe wrote, How to cite this book chapter: Jacklosky, R. 2020. ‘The Thing and Not the Thing’: The Contemporary Dickensian Novel and Donna Tartt’s The Goldfinch (2013). In: Bell, E. (ed.), Dickens After Dickens, pp. 117–139. York: White Rose University Press. DOI: https://doi.org/10.22599 /DickensAfterDickens.g. Licence, apart from specified exceptions: CC BY-NC 4.0 118 Dickens After Dickens Some have suggested Bleak House as a corollary, but to me, the Dickens novel that The Goldfinch most resembles is Great Expectations. -
The Engagement of Carel Fabritius's Goldfinch of 1654 with the Dutch
Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) The Engagement of Carel Fabritius’s Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange Linda Stone-Ferrier [email protected] Recommended Citation: Linda Stone-Ferrier, “The Engagement of Carel Fabritius’ Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange,” JHNA 8:1 (Winter 2016), DOI: 10.5092/jhna.2016.8.1.5 Available at http://www.jhna.org/index.php/vol-8-1-2016/325-stone-ferrier Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use 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 THE ENGAGEMENT OF CAREL FABRITIUS’S GOLDFINCH OF 1654 WITH THE DUTCH WINDOW, A SIGNIFICANT SITE OF NEIGHBORHOOD SOCIAL EXCHANGE Linda Stone-Ferrier This article posits that Carel Fabritius’s illusionistic painting The Goldfinch, 1654, cleverly traded on the experience of a passerby standing on an actual neighborhood street before a household window. In daily discourse, the window func- tioned as a significant site of neighborhood social exchange and social control, which official neighborhood regulations mandated. I suggest that Fabritius’s panel engaged the window’s prominent role in two possible ways. First, the trompe l’oeil painting may have been affixed to the inner jamb of an actual street-side window, where goldfinches frequently perched in both paintings and in contemporary households. -
SBE-Brochure-MICE-A4-EN-Version
InspiredMeetings™ INSPIRED BY YOU. STAGED BY US BBrussels Le E Louise TABLE OF CONTENTS Sofitel Brussels Europe Presentation of the hotel ………………………………………………………………………………………………………………………… 4 The comfort Sofitel ……….…………………………………………………………………………………………………………………………… 5 Presentation of the meeting rooms ………………………………………………………………………………………………… 6 Meeting rooms access plan ………………….……………..………………………………………………………………………………… 8 Meeting rooms capacities ………..……………………….…….……………………………………………………………………………. 9 Meetings and events Seminar packages ……………………………….....………………………………………………………………………………………………… 10 Breaks ………………………………………………………………………………..…………………………………………………………………………… 14 Magnifique Breakfast …………….………………………………………………………………………………………………………………… 15 Cocktails ……………………………………………………….………………………………………………………………………………………………… 16 Canapés ………………………….…………………….………………………………………………………………………………………………………… 17 Buffets …………………………….………………….…………………………………………………………………………………………………………… 18 Quick Lunch ……………………..…………………………………………………………………………………………………………………………… 21 Seasonal menus ………………………….……………………………………………………………………………………………………………… 22 The cellar ……………………………….………………………………………………………………………………………………………………………… 23 The restaurant ………………….………………….……………………………………………………………………………………………………… 24 A European capital Brussels ………………………...…………………..…..……………………………………………………………………………………………………… 25 Hotel location ……………...........……………………………………………………………………………………………………………………… 26 Contacts ……………………………………………….………………………………………………………………………………………………………… 27 3 SOFITEL BRUSSELS EUROPE MODERNITY AND ELEGANCE IN THE HEART OF EUROPE Sofitel -
First Major U.S. Tour in Nearly Thirty Years
MASTERPIECES FROM THE MAURITSHUIS TO TRAVEL IN 2013 FIRST MAJOR U.S. TOUR IN NEARLY THIRTY YEARS de Young/Fine Arts Museums of San Francisco January 26, 2013, through June 2, 2013 High Museum of Art, Atlanta June 22, 2013, through September 29, 2013 The Frick Collection, New York October 22, 2013, through January 19, 2014 The Frick Collection is pleased to announce that in the fall of 2013, it will be the final venue of an American tour of paintings from the Royal Picture Gallery Mauritshuis, The Hague. This prestigious Dutch museum, which has not lent a large body of works from its holdings in nearly thirty years, is undergoing an extensive two-year renovation that makes this opportunity possible. Between January 2013 and January 2014, the Mauritshuis will send thirty-five paintings to the United States, following two stops at Japanese institutions. The American exhibition opens next winter at de Young/Fine Arts Museums of San Francisco, traveling on to the High Museum of Art in Johannes Vermeer (1632–1675), Girl with a Pearl Earring, c. 1665, oil on Atlanta for the summer of 2013. A smaller selection of ten canvas, 44.5 x 39 cm, Mauritshuis, The Hague masterpieces will be on view at The Frick Collection in New York from October 22, 2013, through January 19, 2014. Among the works going on tour are the famous Girl with a Pearl Earring by Johannes Vermeer and The Goldfinch by Carel Fabritius, neither of which will have been seen by American audiences in ten years. 1 Emilie Gordenker, Director of the Mauritshuis, comments, “We are delighted to have three excellent museums as partners for our U.S.