Lev-Num-Deut Art Ready to Go

Total Page：16

File Type：pdf, Size：1020Kb

! The Messengers Return from Canaan Painted by: Giovanni Lanfranco When: 1621-1624 Materials and Technique: oil on canvas Numbers 13:27 “And they told him, and said, We came unto the land whither thou sentest us, and surely it floweth with milk and honey; and this is the fruit of it.” Books of Moses: Numbers Fine Art Pages from EnrichmentStudies.com The Punishment of Korah, Dathan, and Abiram Painted by: Botticelli When: 1482 Materials and Technique: Fresco Numbers 16:31 “And it came to pass, as he had made an end of speaking all these words, that the ground clave asunder that was under them: And the earth opened her mouth, and swallowed them up, and their houses, and all the men that appertained unto Korah, and all their goods.” Books of Moses: Numbers Fine Art Pages from EnrichmentStudies.com ! Moses and the Brazen Serpent Painted by: Anthony Van Dyck When: 1620 Materials and Technique: oil on canvas Numbers 21:8-9 “And the LORD said unto Moses, Make thee a fiery serpent, and set it upon a pole: and it shall come to pass, that every one that is bitten, when he looketh upon it, shall live. And Moses made a serpent of brass, and put it upon a pole, and it came to pass, that if a serpent had bitten any man, when he beheld the serpent of brass, he lived.” Books of Moses: Numbers Fine Art Pages from EnrichmentStudies.com Balaam and the Ass Painted by: Rembrandt When: 1626 Materials and Technique: oil on panel Numbers 22:27, 28, 31 “And when the ass saw the angel of the LORD, she fell down under Balaam: and Balaam's anger was kindled, and he smote the ass with a staff. And the LORD opened the mouth of the ass, and she said unto Balaam, What have I done unto thee, that thou hast smitten me these three times?….Then the LORD opened the eyes of Balaam, and he saw the angel of the LORD standing in the way, and his sword drawn in his hand: and he bowed down his head, and fell flat on his face.” Books of Moses: Numbers Fine Art Pages from EnrichmentStudies.com.

Copy Link

Recommended publications

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.
[Show full text]
Hendrick Goltzius
THE BAPTISM OF THE EUNUCH Pieter Vis, student number 6132294 Trambaanweg 4 3911AH Rhenen Figuur 1 Painting with frame Figuur 2 Backside 1 THE BAPTISM OF THE EUNUCH, REMBRANDT Contents Introduction ................................................................................................................................................................... 4 Description of the painting: observations .............................................................................................................. 4 What do we see ....................................................................................................................................................... 4 What is depicted ...................................................................................................................................................... 8 About the composition........................................................................................................................................... 8 Symbolism in the Baptism of the Eunuch ......................................................................................................... 12 Technical aspects ........................................................................................................................................................ 12 Context and comments ............................................................................................................................................ 14 Depiction of the Baptism of the Eunuch before 1600 ...................................................................................
[Show full text]
Rembrandt – Insight Into an Artist’S Mind
Rembrandt – Insight into an Artist’s Mind Rembrandt’s self-portraits are legion. He also painted himself into some of his Biblical and historic paintings. Here are three of them: Rembrandt is the 14th person on the boat “The Storm on the Sea of Galilee” “The Raising of the Cross.” “The Descent from the Cross.” Rembrandt is the man in the blue cap Rembrandt is the man on the ladder Rembrandt’s Bible-based body of work Here is a partial list of Rembrandt’s Bible-based paintings, etchings, and drawings. It is only partial because some of these subjects he visited time and again, drawing or painting from a different perspective. Fully a third of his entire output was based on the Bible. Many of these titles refer to events in the same chapter in the Bible. (e. g., “Simon with Jesus” and “The Presentation”; both are from Luke 2). Trying not to count the same chapter twice, I came up with a figure of more than 75 different Bible chapters represented in these titles – an impressive oeuvre, all influenced by the Word of God. Paintings A Heroine from the Old Testament , Abraham and the Angels, Abraham’s Sacrifice, Balaam and the Ass, Bathsheba , Boaz and Ruth, Boaz pouring Six Measures of Barley into Ruth’s veil, Christ and Mary Magdalene at the Tomb, Christ and the Samaritan at the Well, Christ in the Storm, Christ on the Cross, Christ Resurrected, Christ Washing the Feet of His Disciples, Daniel and King Cyrus in front of the Idol of Bel, Daniel in the Lion’s Den, David and Jonathan, David Playing the Harp for Saul, David presents the Head of Goliath to King Saul, Ecce Homo, Esau Sells his Birthright to Jacob, Esther is Introduced to Ahasuerus, Esther with the Decree of Destruction, Haman and Ahasuerus visit Esther, Head of Christ, Jacob Blessing the Children of Joseph, Jacob wrestling with an Angel, Jeremiah Lamenting the Destruction of Jerusalem, John the Baptist Preaching, Joseph and Potiphar’s Wife, Joseph Tells his Dreams.
[Show full text]
Balaam Balaam - Wikipedia, the Free Encyclopedia
بِلعَام بِلعَام Βαλαὰμ بِلعَام http://www.agapebiblestudy.com/numbers/numbers_lesson_10.htm http://www.newworldencyclopedia.org/entry/Balaam Balaam - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Balaam Balaam From Wikipedia, the free encyclopedia ,Standard Bil ʻam Tiberian Bil ʻā m , בִּ לְﬠָם :Balaam (Hebrew English pronunciation / ˈbe ɪlæm/ [1] ) is a diviner in the Torah, his story occurring towards the end of the Book of The etymology of his name is .( במדבר :Numbers (Hebrew uncertain, and discussed below. Every ancient reference to Balaam considers him a non-Israelite, a prophet, and the son of Beor , though Beor is not so clearly identified. Though other sources describe the apparently positive blessings he delivers upon the Israelites, he is reviled as a "wicked man" [2] in the major story concerning him. Balaam refused to speak what God did not speak and would not curse the Israelites, even though King Balak of Moab offered him money to do so. (Numbers 22–24). But Balaam's error and the source of his wickedness came from sabotaging the Balaam and the angel , painting from Gustav Jaeger, Israelites as they entered the Promised Land. According to 1836. Numbers 31:16 and Revelation 2:14, Balaam returned to King Balak and informed the king on how to get the Israelites to curse themselves by enticing them with prostitutes and unclean food sacrificed to idols. The Israelites fell into transgression due to these traps and God sent a deadly plague to them as a result (Numbers 31:16). Contents 1 Balaam and Balak 2 Prophecies 3 Balaam in rabbinic literature 4 Balaam in the New Testament, Josephus and Philo 5 Balaam in the Quran 6 Etymology 7 Balaam and the Deir Alla inscription 8 See also 9 Notes 10 References 11 External links Balaam and Balak The main story of Balaam occurs during the sojourn of the Israelites in the plains of Moab, east of the Jordan River, at the close of forty years of wandering, shortly before the death of Moses and the crossing of the Jordan.
[Show full text]
THE BAPTISM of the EUNICH, Rembrandt
A visit 17-12-2010 Pieter Vis 1 17-12-2010 2 17-12-2010 3 17-12-2010 4 17-12-2010 5 17-12-2010 6 17-12-2010 Pieter Vis 7 17-12-2010 8 At a first glance 17-12-2010 9 10 17-12-2010 Pieter Vis 11 Three different faces? 17-12-2010 Pieter Vis 12 17-12-2010 13 Armed horseman 17-12-2010 Pieter Vis 14 Coachman and co-driver 17-12-2010 Pieter Vis 15 17-12-2010 Pieter Vis 16 17-12-2010 Pieter Vis 17 17-12-2010 18 17-12-2010 Pieter Vis 19 Signature 17-12-2010 20 17-12-2010 Pieter Vis 21 A second glance The subject In the Bible is only one passage that mentions a baptism of a (most likely) coloured man: Acts 8: 26-40: the apostle Philip who baptizes an Ethiopian Eunuch 17-12-2010 Pieter Vis 22 Bible New testament Acts 8: 26-38 Then an angel of the Lord said to Philip, ‘Get up and go towards the south to the road that goes down from Jerusalem to Gaza. So he got up and went. Now there was an Ethiopian eunuch, a court official of the Candace, queen of the Ethiopians, in charge of her entire treasury. 17-12-2010 Pieter Vis 23 He had come to Jerusalem to worship and was returning home; seated in his chariot, he was reading the prophet Isaiah. 17-12-2010 Pieter Vis 24 Then the Spirit said to Philip, ‘Go over to this chariot and join it.’ So Philip ran up to it and heard him reading the prophet Isaiah.
[Show full text]
To the Exhibition Catalogue
-the banishment of ... 48, 191, 191, 196, 236, 268, 299, Conus imperialis L. 416, 416 (fig. 112b) 300, 302, 306, ... waiting for Abraham 132, portrayal HOMER 134, 318, 378, 378 of ... 192, figure identified as ... 132, 191, 192 -Aristotle contemplating the bust of... 27, 28, 134, 171, HAID, Johann Gottfried 134 378, ... as painted by A. de Gelder 38, figure identified -prints by... as ... teaching his pupils 134, ... dictating to scribes Man in Armour (after Rembrandt) 134, 134 (fig. 15a), 318, 319, 378, 379,... reciting versus 326, 327, Portrait 136 of ... copy after late Hellinistic original, Boston 378, 378 Hairy War 128 (fig. 97a) HALL, Bernard 18 -books by... HALS, Frans (also Francis)18, 44, 149, 150, 153, 187, Odyssey 340, 440 200, 286, 322 HONTHORST, Gerrit van 126, 160, 214, 222, 284 -broad manner of ... 184 -paintings by... -paintings by... Violinist with a Glass Amsterdam 214, 214 (fig. 33a) The Evangelist Luke Odessa 162 HONTHORST, Willem van 284 The Evangelist Matthew Odessa 161, 162, 162 (fig. HOOCH, Carel de 110, 114 22b), 286 HOOCH, Pieter de 146, 279 Corporalship of Captain Reynier Reael and Lieutenant HOOFT, Pieter Cornelisz Cornelis Michiels Blaeuw (with Pieter Codde) -plays by... Amsterdam 150, 152 (fig. 19c), 153 Geeraerdt van Velsen 170 Married Couple in a Garden ( Isaac Massa and Beatrix HOOFT, W D van der Laan ) Haarlem 240 -plays by... Portrait of a Man Cambridge 183, 184, 184 (fig. 28c) Heden-daeghsche Verlooren Soon 396 Portrait of a Standing Man Edinburgh 150, 152 (fig. HOOGEWERFF G J 134, 378 19b), 153 HOOGH, de Portrait of a Woman Edinburgh 153 -collection of ..
[Show full text]
BAMIDBAR Hebrew Book of Numbers
EŷǋƮèŃðŇĀŘôŘųƀŶɈ þŗƱĘƫŸǯðɕɌɈɖɔ 2 ëAņŖŠŸŶ ëŸǬă ųǫĈŖŠŸ ëģǖþƭ Ŧǐë Ĉîė ƻûų ûŸǰĈŘɈ ŃûǘŦŵŖŠŸ ŃIǋĔĘ ƐĐĘřĘ ŃǯřŠ ǯŖŠŸ ƐńĐ ĘĀ ŖîĨ ĀĘǮŶŠŸŸ EŶģĐņëŸɅ 3 We present our many thanks to Our God-Father and to Our King of Kings, to His Imperial Majesty, HAILE SELLASSIE I’s Kingdome in the Glorious name of Iyesus Kristos, Our Saviour – Our Lord of Lords. AMEN AND AMEN. 4 THE BIBLE SOCIETY OF HIS IMPERIAL MAJESTY (BSHIM) PUBLISHED BY: H.H. RAS IADONIS TAFARI, & H.H. WOIZERO TEHETENA GIRMA-ASFAW OF THE LION OF JUDAH SOCIETY (LOJS) IMPERIAL PUBLISHERS TO THE H.I.M. UNIVERSITIES,COLLEGES & CHRISTIAN [TEWAHEDO]CHURCHES 1991-2012 BSHIM-LOJ 5 ©2012 by LION OF JUDAH SOCIETY PUBLISHERS & IYOBELYU [JUBILEE]PRINTING PRESS ISBN All rights reserved. No part of this publication may be reproduced or transmitted for commercial purposes, except for brief quotations in printed reviews, without written permission of the publishers’. Churches and other noncommercial interests may reproduce portions of this book without the express written permission of the LOJS PUBLISHERS, provided that the text does not exceed 500 words and that the text is not material quoted from another publisher. When reproducing text from this book, include the following credit line: “From Bamidbar, Hebrew Book of the Numbers: Torah Portion Vol.4, An Introduction & Compilation by Ras Iadonis Tafari,’ published and printed by the Lion of Judah Society. Used by permission.” All English-language scripture quotations, unless otherwise noted, are taken from the King James Version of the 1611 A.D. Holy Bible [KJV]. All Amharic-language scripture quotations, unless otherwise noted, are taken the Emperor’s Bible, the 1961/2 A.D.
[Show full text]
Tables and Indexes Table of Technical Reference Material
Tables and Indexes Table of technical reference material The following table lists available scientific reference Cambridge, Mass. Center for Conservation and material relating to paintings discussed in the pre Technical Studies of the Fogg sent volume. The data themselves are included in Art Museum, Harvard the text of our catalogue entries. Other than for the University dendrochronological data (listed on pp. 683-685), The Hague Professor Dr. W. Froentjes, as no effort has been made to give a survey of the sisted by Mr. L. Kuiper, former individual information. As a specification of restorer at the Mauritshuis, scientific data obtained and interpreted by different and Mr. W. Verschuren, chief methods may easily yield misleading results, only the assistant at the Forensic existence and amount of reference material are in Science Laboratory of the dicated, together with the places where it was Ministry of Justice, Rijswijk examined and is currently kept. As for the X-rays (cf. De Vries, T6th-Ubbens, listed, most though not all are in the museum's or Froentjes) owner's records as well as in our files, as originals, London National Gallery Research La copy films or paper prints. X-rays of the whole or boratory virtually whole area of paintings are listed in a differ Los Angeles Los Angeles County Museum ent column from those covering only part of the of Art painting. A question mark indicates that the number Munich Doerner-Institut of samples taken and cross-sections prepared is un Paris Laboratoire du Musee du known to us. The institutes where research was car Louvre ried out are listed as follows: Stuttgart Institut fUr Technologie der Amsterdam Central Research Laboratory Malerei Support Ground and paint Photographic Remarks documents ..; en bJJ v ..c 0 -a P..
[Show full text]
Artistic Style Characterization of Vincent Van Gogh's Paintings Using
Artistic Style Characterization of Vincent Van Gogh’s Paintings using Extracted Features from Visible Brush Strokes Tieta Putri, Ramakrishnan Mukundan and Kourosh Neshatian Department of Computer Science, University of Canterbury, Christchurch, New Zealand [email protected], mukundan, kourosh.neshatian @canterbury.ac.nz { } Keywords: Stylometry, Style Characterization, Feature Extraction, Painting Classification. Abstract: This paper outlines important methods used for brush stroke region extraction for quantifying artistic style of Vincent Van Gogh’s paintings. After performing the region extraction, stroke-related features such as colour and texture features are extracted from the visible brush stroke regions. We then test the features by performing a binary classification between painters from different art movements and painters from the same art movement. 1 INTRODUCTION tics has motivated considerable research into brush stroke analysis, which can be done mathematically Identifying artistic styles in digital paintings have and statistically with the aid of stylometry. The aim been of great interest for researchers in the field of of stylometry is to quantify artistic styles with a se- Computer Vision. It has many applications such as for ries of extracted features from the digitized artworks cultural heritage preservation (Putri and Arymurthy, (Hughes et al., 2010). An image will represented as 2010), differentiating art movement period (Johnson. a string of features of statistical, texture, colour or et al., 2008), building a style-based image retrieval shape, which will be analyzed using machine learning system (Lombardi et al., 2004) and forgery detection techniques. In this paper, we use stroke-based sty- (Rosseau, 1968). There are many factors that de- lometry as we characterize various paintings by exa- termine an artistic style.
[Show full text]
Introduction Balaam's Ass, the Babylonian Talmud, and Critical
Cambridge University Press 978-1-108-42366-3 — Animals and Animality in the Babylonian Talmud Beth A. Berkowitz Excerpt More Information 1 1 Introduction Balaam’s Ass, the Babylonian Talmud, and Critical Animal Studies Rembrandt’s Ass In Rembrandt’s “The Prophet Balaam and the Ass,” Balaam is at the center of the painting, his turbaned white hair streaming, his red cloak billowing around him. 1 With one hand Balaam pulls his donkey with a rope. In his other hand he holds a club that he is about to bring down on the recalcitrant donkey. An angel stands above Balaam in a pose that mirrors Balaam’s. The angel is about to strike Balaam with a sword, but Balaam does not see him. Balaam looks at the donkey, the angel looks at Balaam, each in consternation. The two i gures are a physics lesson in potential energy. Rembrandt has captured them at a moment of great dramatic tension. In between the two human i gures is the donkey. She has been brought to her knees, her saddlebag almost level with the ground, her head turned back toward Balaam as she, with terrii ed eyes and mouth agape, awaits the strike. 2 Is she looking at the angel or at Balaam? Whom does she fear more? In the painting of Balaam by Rembrandt’s teacher Pieter Lastman 1 Rembrandt Harmenszoon van Rijn, 1626, in the Musée Cognacq-Jay in Paris. The image can be viewed at www.museecognacqjay.paris.fr/en/la-collection/ass-prophet-balaam . 2 The Numbers narrative describes the donkey as “crouched down under Balaam” (Numbers 22:27), which, according to Baruch Levine, suggests that the donkey either had prostrated herself before the angel or was waiting for the angel’s command.
[Show full text]
Prints in the Netherlands, 1550–1700, Ed
Three Musicians (Allegory of Hearing) ca. 1624–25 oil on panel Rembrandt van Rijn 21.5 x 17.7 cm (Leiden 1606 – 1669 Amsterdam) RR-105 © 2021 The Leiden Collection Three Musicians (Allegory of Hearing) Page 2 of 25 How to cite Libby, Alexandra, Ilona van Tuinen, and Arthur K. Wheelock Jr. “Allegory of Hearing, Allegory of Smell, Allegory of Touch, from The Series of the Five Senses” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/the-three-musicians/ (accessed September 26, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Three Musicians (Allegory of Hearing) Page 3 of 25 On 22 September 2015, one of the most surprising and exciting recent Comparative Figures discoveries in Dutch art transpired in the auction house Nye & Company in Bloomfield, NJ: the appearance of one of Rembrandt van Rijn’s earliest paintings, Unconscious Patient.[1] After surfacing in the collection of a New Jersey family, it was catalogued as “Continental School, Nineteenth Century” and garnered little attention during the viewing period.[2] At the auction, however, it became obvious that two international phone bidders had understood the importance of this painting, and as their bidding intensified way beyond the pre-sale estimate so did the atmosphere in the auction house sales room.
[Show full text]
Rembrandt and the Leiden Collection
Rembrandt and The Leiden Collection How to cite Chapman, H. Perry. “Rembrandt and The Leiden Collection” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/essays/rembrandt-and-the-leiden-collection/ (accessed September 25, 2021). A PDF of every version of this essay is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Rembrandt and The Leiden Collection Page 2 of 22 Rembrandt’s artistic origins in Leiden and early successes in Amsterdam, seen through the lens of The Leiden Collection. The range of impressive paintings from the 1620s and 1630s in The Leiden Collection shows how Rembrandt van Rijn (1606–69) became so Fig 1. Pieter Lastman, David tremendously successful in his day, and why he ranks among the greatest, Gives Uriah a Letter for Joab, 1619, oil on panel, 42.8 x 63.3 most admired artists of all time. Born in Leiden in 1606, Rembrandt moved to cm, The Leiden Collection, New Amsterdam in the early 1630s, where he soon became the most famous and York, inv. no. PL-100. innovative, most in-demand painter in that great urban center. Throughout his career he demonstrated an unprecedented level of artistic self-awareness, as well as virtually unparalleled drive and ambition; his exceptional knowledge of artistic traditions contributed to his creative efforts.[1] Rembrandt had an enormous impact on his contemporaries.
[Show full text]