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To Theo Van Gogh. Antwerp, on Or About Tuesday, 2 February 1886
To Theo van Gogh. Antwerp, on or about Tuesday, 2 February 1886. on or about Tuesday, 2 February 1886 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b488 a-b V/1962 Date: Van Gogh writes that the painting course ended last week; this happened at the end of January 1886. He also thanks Theo for sending the regular allowance, which almost always arrived at the beginning of the week. We have therefore dated the letter on or about Tuesday, 2 February 1886. Additional: Original [1r:1] Waarde Theo, Dank voor Uw brief en het ingeslotene. Het is iets dat mij fameus veel pleizier doet, dat gij het plan van bij Cormon te gaan nu ook zelf voorstelt. 1 Laat mij U zeggen hoe t mij hier nog verder is gegaan. De schildercursus is verl. week geeindigd, 5 daar er voor het eind van den cursus nog 1 This earlier plan is mentioned in the previous letter, letter 556. Van Gogh knew that Breitner2 had studied with Cormon3 (see letter 465) and may also have heard about him at the academy in Antwerp. Cormon opened his studio at number 104 boulevard de Clichy in 1882. While he did receive his students there, corrections were also done in the studio in rue La Bruyre. The syllabus did not differ much from that of his predecessor Lon Bonnat4. Cormons was less rigidly structured, though, and it was above all this more liberal attitude that won him a favourable reputation among a younger generation of artists. Students drew (classical) plaster casts and from life, and Cormon demanded from his students an extremely accurate, lifelike drawing. -
St. Vincent De Paul and the Homeless
WELCOMING THE STRANGER ST. VINCENT DE PAUL AND THE HOMELESS Robert Maloney, CM An earlier version of this article was published in Vincentiana 61, #2 (April-June 2017) 270-92. “There was no room for them in the inn.”1 Those stark words dampen the joy of Luke’s infancy narrative, which we read aloud every Christmas. No room for a young carpenter and his pregnant wife? Was it because they asked for help with a Galilean accent that identified them as strangers?2 Was there no room for the long-awaited child at whose birth angels proclaimed “good news of great joy that will be for all people”?3 No, there was no room. Their own people turned Mary and Joseph away. Their newborn child’s first bed was a feeding trough for animals. Matthew, in his infancy narrative, recounts another episode in the story of Jesus’ birth, where once again joy gives way to sorrow.4 He describes the death-threatening circumstances that drove Joseph and Mary from their homeland with Jesus. Reflecting on this account in Matthew’s gospel, Pius XII once stated, “The émigré Holy Family of Nazareth, fleeing into Egypt, is the archetype of every refugee family." 5 Quoting those words, Pope Francis has referred to the plight of the homeless and refugees again and again and has proclaimed their right to the “3 L’s”: land, labor and lodging.6 Today, in one way or another, 1.2 billion people share in the lot of Joseph, Mary and Jesus. Can the Vincentian Family have a significant impact on their lives? In this article, I propose to examine the theme in three steps: 1. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Blooms Hilton Als
Blooms Hilton Als Taken together, Julian Schnabel’s canvases are a garden illuminated by perception, which is all Gertrude Stein’s “Rose is a rose is a rose is a rose” was about—how we look at what we look at, how to make seeing into words. Schnabel’s masterly Rose Paintings series, exe- cuted in 2015–17, are blooms that will never die on the vine, let alone the vine of thought. The works are a description of the ephemeral—flowers as forces in nature that expire to blossom again. By using materials meant to last—oil, paint, Bondo on wood—Schnabel creates concrete forms out of that which is meant to return to the ground. In these works, he excavates flowers, those captives of time that die with time, and makes them timeless, in pictures that draw on nature to make of it what the artist will—and does. Schnabel makes paintings that are illustrative of his nature. The artist first attracted widespread attention more than three decades ago for work that was unlike anything else, because the Brooklyn-born Schnabel’s point of view has always been unlike anyone else’s. His eye is a rose. In paintings ranging from Self Portrait in Andy’s Shadow (1987) to the Untitled (Chinese Paintings) series (initiated in 2003), the creator worked in a tradition that could not be readily identified because it was his own, an out- growth of his soul. Like flowers that cannot be classified, the Rose paintings come at you from different angles. One painting looks at the roses a little from the left, some are more centered—all of which goes to show how one’s view of a thing can change the thing being observed; our percep- tions change paintings, just as paint changes blank canvas. -
Elasmobranch Biodiversity, Conservation and Management Proceedings of the International Seminar and Workshop, Sabah, Malaysia, July 1997
The IUCN Species Survival Commission Elasmobranch Biodiversity, Conservation and Management Proceedings of the International Seminar and Workshop, Sabah, Malaysia, July 1997 Edited by Sarah L. Fowler, Tim M. Reed and Frances A. Dipper Occasional Paper of the IUCN Species Survival Commission No. 25 IUCN The World Conservation Union Donors to the SSC Conservation Communications Programme and Elasmobranch Biodiversity, Conservation and Management: Proceedings of the International Seminar and Workshop, Sabah, Malaysia, July 1997 The IUCN/Species Survival Commission is committed to communicate important species conservation information to natural resource managers, decision-makers and others whose actions affect the conservation of biodiversity. The SSC's Action Plans, Occasional Papers, newsletter Species and other publications are supported by a wide variety of generous donors including: The Sultanate of Oman established the Peter Scott IUCN/SSC Action Plan Fund in 1990. The Fund supports Action Plan development and implementation. To date, more than 80 grants have been made from the Fund to SSC Specialist Groups. The SSC is grateful to the Sultanate of Oman for its confidence in and support for species conservation worldwide. The Council of Agriculture (COA), Taiwan has awarded major grants to the SSC's Wildlife Trade Programme and Conservation Communications Programme. This support has enabled SSC to continue its valuable technical advisory service to the Parties to CITES as well as to the larger global conservation community. Among other responsibilities, the COA is in charge of matters concerning the designation and management of nature reserves, conservation of wildlife and their habitats, conservation of natural landscapes, coordination of law enforcement efforts as well as promotion of conservation education, research and international cooperation. -
Burning News from the Ipswich Incinerator
5467 91Burning51 News from the Ipswich Incinerator The MAY 2005 newsletter of Ipswich Little Theatre Strange ‘Times’ A young girl who was blown Wolf Lullaby is a compelling play about the disturbing subject of juvenile out to sea on a set of murderers. It asks not only why they occur but how we deal with it. inflatable teeth was rescued A small child is murdered and suspicion falls on Lizzie. Her mother by a man on an inflatable lobster. A coastguard believes her daughter could be guilty, but her father is full of denial. spokesman commented, Set in an Australian country town, this play holds up a mirror to society "This sort of thing is all too and reflects reality rather than what we’d like to see. It is a piece of drama common". The Times not to be missed! Ipswich Little Theatre, in 2005, has a relationship with the Queensland Conservatorium of Music whereby students of music composition have the INSIDE BURNING NEWS opportunity of working with directors of ILT plays to develop an original THIS MONTH: score for each play. QCM student, Raymond Lawrence, has worked with Group News Page 2 Suzanne and Liz to write a score that responds to the themes of Wolf Lullaby. This will add another interesting component to an already Vincent in Brixton Page 3 fascinating production. Selection C’tte news Page 3 Qld Poet in Residence Page 4 If you would like to support the Ipswich Arts Council, please Original image for Wolf Lullaby by Arts Alive student consider seeing Wolf Daajan Bain aged 7 (daughter of cast member Majella Gee) Lullaby on their social night – Wednesday 15 June from 7.30 pm. -
Vincentiana Vol. 44, No. 3 [Full Issue]
Vincentiana Volume 44 Number 3 Vol. 44, No. 3 Article 1 2000 Vincentiana Vol. 44, No. 3 [Full Issue] Follow this and additional works at: https://via.library.depaul.edu/vincentiana Part of the Catholic Studies Commons, Comparative Methodologies and Theories Commons, History of Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation (2000) "Vincentiana Vol. 44, No. 3 [Full Issue]," Vincentiana: Vol. 44 : No. 3 , Article 1. Available at: https://via.library.depaul.edu/vincentiana/vol44/iss3/1 This Article is brought to you for free and open access by the Vincentian Journals and Publications at Via Sapientiae. It has been accepted for inclusion in Vincentiana by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Via Sapientiae: The nI stitutional Repository at DePaul University Vincentiana (English) Vincentiana 6-30-2000 Volume 44, no. 3: May-June 2000 Congregation of the Mission Recommended Citation Congregation of the Mission. Vincentiana, 44, no. 3 (May-June 2000) This Journal Issue is brought to you for free and open access by the Vincentiana at Via Sapientiae. It has been accepted for inclusion in Vincentiana (English) by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. VINCENTIANA 44th YEAR, N° 3 MAY-JUNE 2000 FEATURE: V SI.PER. 255.77005 Saint Vincent Priest V775 v.44 CONGREGATION OF THE 1MISSiON no.3 GLNER\I CURIA 2000 VINCENTIANA Magazine of the Congregation of the Mission Published every two months by the General Curia Via dei Capas.so, 30 - 00164 Roma 44th year, N° 3 Slav-June 2000 Summary Feature : Saint Vincent Priest • The Clergy in the France of St. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Van Gogh: Heartfelt Lines
Jane Van Nimmen exhibition review of Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines,” Nineteenth- Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc-artworldwide.org/ spring09/76-van-gogh-heartfelt-lines. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Nimmen: Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Van Gogh: Heartfelt Lines Albertina, Vienna, 5 September 2008 – 8 January 2009 Catalogue: Van Gogh: Heartfelt Lines Edited by Klaus Albrecht Schröder and Heinz Widauer, Sjraar van Heugten and Marije Vellekoop; with an introduction by Klaus Albrecht Schröder; with essays by Martin Bailey, Sjraar van Heugten, Fred Leeman, Teio Meedendorp, Marije Vellekoop, and Heinz Widauer. Catalogue entries by Stefanie Chaloupek, Fred Leeman, Heinz Widauer, and Denise Willemstein. Cologne: DuMont, 2008. 455 pages; 338 color illustrations, 32 b-w; bibliography Cost: €24,90 ($36, in museum); €49,90 ($73, in bookstores) ISBN: 978-3-8321-9158-0 (museum edition); 978-3-8321-9133-7 (trade edition) Van Gogh: Gezeichnete Bilder ISBN: 978-3-8321-9157-3 (museum edition); 978-3-8321-9157-2 (trade edition) “To bring the art of drawing out of quarantine” became a mission statement of the new Albertina Director Klaus Albrecht Schröder long before he re-opened the meticulously restored museum. Assuming his post at the beginning of the millennium, Schröder accelerated renovations for the palace of Albert, Duke of Saxe-Teschen (1738–1822); the building behind the opera had housed his remarkable collection for two centuries and had closed for urgent repairs in the 1990s. -
Vincent Van Gogh: Portrait of an Artist Pdf, Epub, Ebook
VINCENT VAN GOGH: PORTRAIT OF AN ARTIST PDF, EPUB, EBOOK Jan Greenberg | 132 pages | 14 Jan 2003 | Random House USA Inc | 9780440419174 | English | New York, United States Vincent Van Gogh: Portrait of an Artist PDF Book Los Angeles: J. Get A Copy. Paintings and drawings , 28 January - 1 March , no. Jo was able to sell some of her brother-in-laws work. Paintings, watercolors and drawings , 22 March - 29 April , no. The book traces the unique life and artworks of the Dutch artist Vincent van Gogh from his birth in to his death by suicide in Hammacher en Jan G. Van gogh painted this portrait with oil paints on a canvas in July Thompson ; with contributions by Rakhee Balaram, Noelle C. His parents didn't support his idea of being an artist. Knapp added it Shelves: booklist. Van Gogh persevered. Dec 20, Terri Durling rated it it was amazing. Woman Sewing Watercolor, —82, P. The authors do a remarkable job of presenting Van Gogh's complex personality described by his brother as "gifted, delicate, and tender" and "cruel and hard-hearted" ; his periods of manic energy; and the ear incident, in a straightforward, even understated way, showing that he was not "crazy," but rather suffered from epilepsy. It was Gauguin who could not tolerate the way Gogh's living style and felt threatened by Gogh's unstable psychological state and left him. How easy was it to just give up understanding Vincent, and rationalising that perhaps his eccentricities, whatever and however they are, may just be appreciated now that he has passed? The technology to take an exact image of a person in turn created a style of painting determined to capture more than what the eye could see. -
Idea Realization
MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY IDEA_REALIZATION MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY HISTORY F16x9 began as FLY DVD Magazine in 2003. Merging analog and digital technology, With FLY DVD‘s success, the creators developed a reputation for high-quality produc- In January of 2010, FLY16x9 exhibited select works directed by Stephen Blaise at the founders Stephen Blaise and Catherine Camille Cushman created a new paradigm tion values and content creation. Commercial clients began approaching and hiring Deutsche Guggenheim Berlin as part of a group show titled ‘Utopia, how nice with- as a response to the creative stagnation and repetition of ideas they were finding in the creative team for their unique aesthetic sensibility and singular vision. out you?’ In February, FLY16x9 was given a retrospective film screening at the newly traditional print media. renovated SVA Theater in Chelsea, New York. The following month, FLY16x9 launched From 2006 to 2008 Conde Nast and FLY formed a partnership, in which FLY‘s original Beauty16x9, a channel curated by makeup artist Thorsten Weiss. Blaise and Cushman recognized that media and the way people were receiving it content was licensed and a FLY channel was created on their web-based subsidiary was rapidly changing, yet they found that no one was offering original high-quali- style.com. In 2011, FLY16x9 debuted select works at Centre Pompidou, Paris. ty art related content for these new media outlets. Technology had advanced to the point where it began to offer an ‘anything-is-possible’ premise and the possibility of By 2009, the writing was on the wall, DVD technology was becoming obsolete. -
The Last Prisoners of World War II
Pace International Law Review Volume 9 Issue 1 Summer 1997 Article 14 June 1997 The Last Prisoners of World War II Margaret M. Mastroberardino Follow this and additional works at: https://digitalcommons.pace.edu/pilr Recommended Citation Margaret M. Mastroberardino, The Last Prisoners of World War II, 9 Pace Int'l L. Rev. 315 (1997) Available at: https://digitalcommons.pace.edu/pilr/vol9/iss1/14 This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace International Law Review by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. COMMENT THE LAST PRISONERS OF WORLD WAR Ill Margaret M. Mastroberardino I. INTRODUCTION "To the victor belong the spoils of the enemy."2 The Ro- mans exhibited treasures captured from their prisoners; Napo- 3 leon did the same almost two thousand years later. Throughout world history, looting treasures belonging to ene- mies in times of war has been a constant.4 Looting occurred as recently as the Persian Gulf War, where Saddam Hussein re- moved collections of cultural property from Kuwait. At the end of the 19th century, an idea emerged that cultural objects should be protected from armed, military conflict.5 As a result, the Hague Conventions of 1899 and 1907 included provisions designed to "protect cultural institutions, historical monuments and works of art from premeditated seizure, destruction, or damage."6 During World War II, Adolph Hitler and his Nazi soldiers wrought havoc on Europe. In their quest to establish a superior 1 "They are the last prisoners of World War II, about to emerge from the dark rooms where they were locked away 50 years ago." Jack Kelly, The Spoils of War/ Show Ignites Debate Over Ownership, USA TODAY, March 3, 1995 at 1D.