VOL. 30 Rutgers Art Review
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The Rinceau Design, the Minor Arts and the St. Louis Psalter
The Rinceau Design, the Minor Arts and the St. Louis Psalter Suzanne C. Walsh A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2011 Approved by: Dr. Jaroslav Folda Dr. Eduardo Douglas Dr. Dorothy Verkerk Abstract Suzanne C. Walsh: The Rinceau Design, the Minor Arts and the St. Louis Psalter (Under the direction of Dr. Jaroslav Folda) The Saint Louis Psalter (Bibliothèque National MS Lat. 10525) is an unusual and intriguing manuscript. Created between 1250 and 1270, it is a prayer book designed for the private devotions of King Louis IX of France and features 78 illustrations of Old Testament scenes set in an ornate architectural setting. Surrounding these elements is a heavy, multicolored border that uses a repeating pattern of a leaf encircled by vines, called a rinceau. When compared to the complete corpus of mid-13th century art, the Saint Louis Psalter's rinceau design has its origin outside the manuscript tradition, from architectural decoration and metalwork and not other manuscripts. This research aims to enhance our understanding of Gothic art and the interrelationship between various media of art and the creation of the complete artistic experience in the High Gothic period. ii For my parents. iii Table of Contents List of Illustrations....................................................................................................v Chapter I. Introduction.................................................................................................1 -
CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington
CULTURAL RESOURCES INVENTORY MORRIS COUNTY, NEW JERSEY PHASE III: Chatham Borough, Chatham Township, Dover, Madison, Montville, Mount Arlington Principal Investigators: Jennifer B. Leynes Kelly E. Wiles Prepared by: RGA, Inc. 259 Prospect Plains Road, Building D Cranbury, New Jersey 08512 Prepared for: Morris County Department of Planning and Public Works, Division of Planning and Preservation Date: October 15, 2015 BOROUGH OF MADISON MUNICIPAL OVERVIEW: THE BOROUGH OF MADISON “THE ROSE CITY” TOTAL SQUARE MILES: 4.2 POPULATION: 15,845 (2010 CENSUS) TOTAL SURVEYED HISTORIC RESOURCES: 136 SITES LOST SINCE 19861: 21 • 83 Pomeroy Road: demolished between 2002-2007 • 2 Garfield Avenue: demolished between 1987-1991 • Garfield Avenue: demolished c. 1987 • Madison Golf Club Clubhouse: demolished 2007 • George Wilder House: demolished 2001 • Barlow House: demolished between 1987-1991 • Bottle Hill Tavern: demolished 1991 • 13 Cross Street: demolished between 1987-1991 • 198 Kings Road: demolished between 1987-1991 • 92 Greenwood Avenue: demolished c. 2013 • Wisteria Lodge: demolished 1988 • 196 Greenwood Avenue: demolished between 2002-2007 • 194 Rosedale Avenue: demolished c. 2013 • C.A. Bruen House: demolished between 2002-2006 • 85 Green Avenue: demolished 2015 • 21, 23, 25 and 63 Ridgedale Avenue in the Ridgedale Avenue Streetscape/Bottle Hill Historic District: demolished c. 2013 • 21 and 23 Cook Avenue in the Ridgedale Avenue Streetscape: demolished between 1995-2002 RESOURCES DOCUMENTED BY HABS/HAER/HALS: • Bottle Hill Tavern (117 Main -
Lot Description LOW Estimate HIGH Estimate 2000 German Rococo Style Silvered Wall Mirror, of Oval Form with a Wide Repoussé F
LOW HIGH Lot Description Estimate Estimate German Rococo style silvered wall mirror, of oval form with a wide repoussé frame having 2000 'C' scroll cartouches, with floral accents and putti, 27"h x 20.5"w $ 300 - 500 Polychrome Murano style art glass vase, of tear drop form with a stick neck, bulbous body, and resting on a circular foot, executed in cobalt, red, orange, white, and yellow 2001 wtih pulled lines on the neck and large mille fleur designs on the body, the whole cased in clear glass, 16"h x 6.75"w $ 200 - 400 Bird's nest bubble bowl by Cristy Aloysi and Scott Graham, executed in aubergine glass 2002 with slate blue veining, of circular form, blown with a double wall and resting on a circular foot, signed Aloysi & Graham, 6"h x 12"dia $ 300 - 500 Monumental Murano centerpiece vase by Seguso Viro, executed in gold flecked clear 2003 glass, having an inverted bell form with a flared rim and twisting ribbed body, resting on a ribbed knop rising on a circular foot, signed Seguso Viro, 20"h x 11"w $ 600 - 900 2004 No Lot (lot of 2) Art glass group, consisting of a low bowl, having an orange rim surmounting the 2005 blue to green swirl decorated body 3"h x 11"w, together with a French art glass bowl, having a pulled design, 2.5"h x 6"w $ 300 - 500 Archimede Seguso (Italian, 1909-1999) art glass sculpture, depicting the head of a lady, 2006 gazing at a stylized geometric arch in blue, and rising on an oval glass base, edition 7 of 7, signed and numbered to underside, 7"h x 19"w $ 1,500 - 2,500 Rene Lalique "Tortues" amber glass vase, introduced 1926, having a globular form with a 2007 flared mouth, the surface covered with tortoises, underside with molded "R. -
Fall/Winter 2018
FALL/WINTER 2018 Yale Manguel Jackson Fagan Kastan Packing My Library Breakpoint Little History On Color 978-0-300-21933-3 978-0-300-17939-2 of Archeology 978-0-300-17187-7 $23.00 $26.00 978-0-300-22464-1 $28.00 $25.00 Moore Walker Faderman Jacoby Fabulous The Burning House Harvey Milk Why Baseball 978-0-300-20470-4 978-0-300-22398-9 978-0-300-22261-6 Matters $26.00 $30.00 $25.00 978-0-300-22427-6 $26.00 Boyer Dunn Brumwell Dal Pozzo Minds Make A Blueprint Turncoat Pasta for Societies for War 978-0-300-21099-6 Nightingales 978-0-300-22345-3 978-0-300-20353-0 $30.00 978-0-300-23288-2 $30.00 $25.00 $22.50 RECENT GENERAL INTEREST HIGHLIGHTS 1 General Interest COVER: From Desirable Body, page 29. General Interest 1 The Secret World Why is it important for policymakers to understand the history of intelligence? Because of what happens when they don’t! WWI was the first codebreaking war. But both Woodrow Wilson, the best educated president in U.S. history, and British The Secret World prime minister Herbert Asquith understood SIGINT A History of Intelligence (signal intelligence, or codebreaking) far less well than their eighteenth-century predecessors, George Christopher Andrew Washington and some leading British statesmen of the era. Had they learned from past experience, they would have made far fewer mistakes. Asquith only bothered to The first-ever detailed, comprehensive history Author photograph © Justine Stoddart. look at one intercepted telegram. It never occurred to of intelligence, from Moses and Sun Tzu to the A conversation Wilson that the British were breaking his codes. -
Corinth, 1987: South of Temple E and East of the Theater
CORINTH, 1987: SOUTH OF TEMPLE E AND EAST OF THE THEATER (PLATES 33-44) ARCHAEOLOGICAL INVESTIGATIONS by the American School of Classical Studies at Athens were conductedin 1987 at Ancient Corinth south of Temple E and east of the Theater (Fig. 1). In both areas work was a continuationof the activitiesof 1986.1 AREA OF THE DECUMANUS SOUTH OF TEMPLE E ROMAN LEVELS (Fig. 1; Pls. 33-37:a) The area that now lies excavated south of Temple E is, at a maximum, 25 m. north-south by 13.25 m. east-west. The earliest architecturalfeature exposed in this set of trenches is a paved east-west road, identified in the 1986 excavation report as the Roman decumanus south of Temple E (P1. 33). This year more of that street has been uncovered, with a length of 13.25 m. of paving now cleared, along with a sidewalk on either side. The street is badly damaged in two areas, the result of Late Roman activity conducted in I The Greek Government,especially the Greek ArchaeologicalService, has again in 1987 made it possible for the American School to continue its work at Corinth. Without the cooperationof I. Tzedakis, the Director of the Greek ArchaeologicalService, Mrs. P. Pachyianni, Ephor of Antiquities of the Argolid and Corinthia, and Mrs. Z. Aslamantzidou, epimeletria for the Corinthia, the 1987 season would have been impossible. Thanks are also due to the Director of the American School of Classical Studies, ProfessorS. G. Miller. The field staff of the regular excavationseason includedMisses A. A. Ajootian,G. L. Hoffman, and J. -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
(Re)Envisioning Orientalist North Africa: Exploring Representations Of
intersections online Volume 11, Number 2 (Autumn 2010) Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107. ABSTRACT This article explores the politics and aesthetics of “authenticity” in artistic representations of Morocco from the mid-nineteenth century to the present day. Through an analysis of the evolution of European and North African artistic depictions of the Maghreb, I examine how the desire for cultural authenticity in representation has influenced the production and consumption of artistic depictions of this region. Three thematic questions emerge: Who are the objects and what are the objectives of traditional and potentially Orientalist paintings? How do identity politics affect the work of post-modern artists from North Africa who reject the Orientalist stereotypes and traditions of European painters? And what do purchases of art, commercial and avant-garde, say about what is popular or accurate? I begin by discussing nineteenth-century French painter Eugène Delacroix’s paintings of Morocco and Algeria, and the real and perceived authenticity of these works. Next, I study the effects of Delacroix’s “authentic” paintings on artists of European and North African origin, including Matisse, Picasso, Mahieddine, Niati, and others. Finally, by means of interviews conducted during a recent trip to Fes and Tangier, I explore the marketing of traditional cultural experiences to visitors as authentic and the ways in which both Moroccans and tourists literally buy into these ideas. By putting artists and consumers from different time periods and regions into virtual dialogue with each other, this project illustrates the complex ways in which we construct and continually revise notions of authenticity. -
TROVE at ICFF 2014 Release FINAL
TROVE BRINGS STUNNING NEW SPRING COLLECTION TO ICFF New York, NY, May 17-20 Booth #2006 (May, 2014 – New York, NY) Returning to ICFF this year, Trove celebrates spring with an alluring new collection of images and patterns that once again push the dimension of wallpaper design in beautiful and unexpected ways. Jee Levin and Randall Buck, co- founders of Trove, are innovative multimedia designers who approach each new collection as artists to a blank canvas. Drawing influences from myriad media and experiences—from architecture, film and art history to travel and nature—this new collection exhibits the distinctive qualities of Trove designs: surprising scale, unconventional color palette, and a poetry and grace that transforms walls into works of art, inviting interpretation. At ICFF in the Javits Center (Booth #2006), Trove will present five arresting new designs: Allee, Rinceau, Grotte, Suichuka, and Macondo along with Trace, a recently released design that makes its ICFF debut this year. All of the patterns are available in 6 colorways and in Trove’s signature scale, which repeats at 12-foot high and 6-foot wide and can be customized to height. Allee Allee presents an expansive dreamscape inspired by Alain Resnais’ 1961 film, “Last Year at Marienbad.” Set in an unspecified formal garden, the film plays with spatial and temporal shifts in scenes to create an ambiguous narrative. The designers translate the cinematic repetition to photographic repetition, composing a landscape organized around a central pathway thereby inviting the passerby to wander into this mise en scene. Rinceau French for foliage, “rinceau” describes a style of filigree that is characterized by leafy stems, florid swirls and sinuous natural elements. -
France) Tel: +33.(0)6.60.62.61.90 [email protected]
120, rue des rosiers 93400 Saint Ouen (France) tel: +33.(0)6.60.62.61.90 [email protected] The Westerners interest for Orient, known as Orientalism, have its roots during the 17th century, but is on the increase during the 19th century thanks to the transport development among other things. Orientalism soon inspires all forms of art and attracts artists belonging to very different currents as it answers to several aspirations. If the movement knows a big fortune in Art, it is primarily related to political events. Napoleonic conquests, first, give the new vision of an Orient as source of a certain knowledge. Artists, like Vivan Denon, accompany expeditions and bring back studies and notebooks with new motifs. A wave of Egyptomania arises from these conquests and imprints the Empire style. At the same time, the decline of the Ottoman Empire is at the heart of the European news and the Greek War of Independence stirs up from 1821 an important philhellene movement, especially in France, which agitates public Vivan Denon (1747-1825), Interior of the Temple of Apollinopolis in opinion outraged by the fate of the insurgents, and contributes both to the political debate and to an unprecedented Etfoù, drawing by Denon, engraving by Baltard, Travels in Upper artistic craze for the Orient. The motif of the Ottoman soldier thus becomes a recurring motif in painting. The and Lower Egypt, pl.57, 1802. young generation of Romantics is involved in the debate with Victor Hugo and Lord Byron and the taste for foreign lands becomes a possible answer to their wealth and diversity quest. -
Picasso's Les Femmes D'alger Series (1954-55)
Picasso’s Les Femmes d’Alger series (1954-55) and the Algerian War of Independence Amanda Beresford, Washington University in St. Louis The Algerian War of Independence, an eight-year war of decolonization between France and its colonial subjects in Algeria, began on November 1st, 1954. Six weeks later, on December 13, Pablo Picasso began a series of fifteen paintings, two lithographs, and a vast number of drawings inspired by Eugène Delacroix’s two versions of his classic nineteenth-century Orientalist painting, Les Femmes d’Alger dans leur Appartement (The Women of Algiers) [Fig. 1].1 Reports of the conflict in Algeria appeared in the French press from its inception and intensified over the next three months while Picasso was working on the series, which he finished on February 14, 1955. The extent to which Picasso’s choice of subject and its timing may have been influenced by the war has been considered by several scholars, including Susan Grace Galassi and Zeynep Çelik. The question appears ultimately unresolvable, but other factors connecting Picasso’s paintings to the Algerian conflict and its aftermath are worthy of examination.2 In particular, in the years since independence, several women writers within and outside Algeria have staged a reversal of conventional ideas by enlisting Picasso’s paintings as the voice of their own aspirations, reappropriating the works’ imagery as narratives of resistance to colonialism and Orientalism. This essay considers Picasso’s Femmes d’Alger (Women of Algiers) series, its relationship to Delacroix, its synchronicity with the war’s outbreak, and its unexpected afterlife in the post-independence writings of Algerian and other feminists. -
The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques ______
Running head: THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 1 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART STYLES WITH VISUAL STORYTELLING TECHNIQUES ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science of Communication Studies, Media Arts and Studies ______________________________________ by Maia Hamilton August 2019 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 2 THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 3 Abstract The purpose of this paper is to understand the influences of art style in the development of animated film. By observing animated films with period settings, we can draw comparisons between their art direction and the art styles of their time. By understanding the historical era and its culture, a creator can then begin to build a world that uses these elements as inspiration. For my animated short film, I use the history and culture of 19th century Paris to illustrate the story. By using influences of period artists such as Degas, Toulouse-Lautrec, and Pissarro I must understand their techniques and incorporate their stylistic choices into the film using visual storytelling techniques. Keywords: traditional animation, 2d animation, modern animation, narratives, storytelling, visual storytelling, storytelling techniques, THE JOY OF STORYTELLING: INCORPORATING CLASSIC ART 4 Introduction - Showing Without Saying “People are storytellers - they tell narratives about their experiences and the meanings that these experiences have for their lives.” - Julia Chaitin, Narratives and Story-Telling, 2003 Storytelling is an integral part of humanity. It is an essential part of all cultures, and it has instilled values and desires into people throughout history. -
The Problem in Edgar Degas: Images of Women and Modernity
The Problem in Edgar Degas: Images of Women and Modernity Lillesol Kane This article examines the sexual politics of modernity in the work of Edgar Degas by showing how his series of dance pictures produced in the 1870s and 1880s suggest a stylistic and thematic relationship between the discourse of modernity and the issue of femininity. In particular, I will discuss how Degas developed an aesthetic style which capitalised upon the fragmentary, the repetitive and the contrapuntal moment-stylistic conceits which were evocative of the discourse of modernity-in order to expatiate on his thematic obsession with the clandestine prostitute. Thus this article will demonstrate how Degas hit upon both a style and a subject whose themes and qualities were understood to correspond equally to the issues of modernity and femininity, which dovetailed seamlessly in his oeuvre in order to produce a phallogocentric aesthetic vision ofthe relationship between these two terms. In so doing, I will show how the coincidence between style and subject in Degas' oeuvre-between an avant-garde visual technique and the image of the clandestine prostitute-simply served to affirm the strong connection between avant-garde definitions of modernity and the depiction of working-class women as sexualised and commodified beings. While the thematic and stylistic concerns of Impressionist art have been understood inmodernist art criticism to represent astraightforward and truthful reportage ofmodern life infin de siecle Paris. an analysis of Degas' oeuvre actually dispels that myth. Demonstrating the welI planned compositional complexity of his work reveals the extent to which his portrayals of working-class women, often understood to be clandestine prostitutes, were deliberate and, more imponantly, constructed depictions ofthe essential character ofthe modem subject.