DOCSLIB.ORG

What Pictures to See in America by the Same Author

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Pictures to See in America by the Same Author NYPL RESEARCH LIBRARIES 3 3433 08191154 WHAT PICTURES "^ TO SEE AMERICA iiik 96 WHAT PICTURES TO SEE atmosphere have gripped truths that will live. There is a reminiscence of Rembrandt in his mellow light and his manner of using it. Sargent's "William M. Chase" dominates room 20, and well it may, for it is a splendid portrait of one of the great leaders in the American school of art. The portrait was a gift by the pupils of Mr. Chase. The *'Harp of the Winds" (Eig. 48), by Homer D. Martin (1836-1897), is one of the pictures sent to Germany several years ago to represent American art. A happy choice it certainly was. The delicate color and filmy at- mosphere harmonize like delicious music. It is well named the *'Harp of the Winds," for the breeze stealing through the slender poplars must be whispering a sweet melody to the bow- ing trunks and waving branches, and they in turn are repeating the strain to the placid water where they are mirrored. This picture is a symphony, a poem and a color harmony. Homer Martin, except for a few weeks' study with William Hart, was a self-taught artist. The portrait of Augustus Saint Gaudens (the American sculptor, 1848- 1907), by Ken- yon Cox, has had quite a history. The orig- inal picture, painted in 1887, was burned in Saint Gaudens' studio at Windsor, Vt., in 1904. Mr. Cox painted this replica in 1908, a NEW YORK CITY 97 year after the sculptor's death, from the studio studies he still had. The figure in the bas-re- lief, that Saint Gaudens is represented as work- ing on, is William M. Chase, his friend and companion. They were about the same age. One of the best beloved pictures in the Mu- seum is "Joan of Arc" (Fig. 49), by Bastien- Lepage (1848-1884). The school children never tire of the peasant girl who saw visions and dreamed dreams. Bastien-Lepage paints Joan with wide-open eyes seeing a spiritual vision and hearing celestial voices. The shadowy figure in the background dressed in armor foretells how she is to fulfill her mis- sion to her beloved France. Her story is so familiar that only a few words are necessary to bring it clearly to mind. Joan was only thir- teen when she repeatedly heard a voice say, "Joan, fail not to seek the church." For three years these voices came and finally urged her to immediate action. "For," they said, "you must help the king and save France." The state of France in 1428 was terrible. Eng- land was besieging the country; the insane king Charles VI died in 1422, and left the kingdom to Henry V of England. The right- ful heir, Dauphin Charles, was weak and in- dolent, with no army, no money and no energy. Joan's visions and voices had been treated with WHAT PICTURES TO SEE IN AMERICA BY THE SAME AUTHOR PICTURES AND THEIR PAINTERS A POPULAR HISTORY OF PAINTING With 300 Illustrations 8vo. $2. so net WHAT PICTURES TO SEE IN EUROPE IN ONE SUMMER Illustrated, ismo. $1.35 net WHAT SCULPTURE TO SEE IN EUROPE Illustrated. Z2mo, $1.35 net FAMOUS PICTURES OF REAL BOYS AND GIRLS Over so Illustrations izmo. $i.2S "«' Hark, the Lark! Winslow Homer. Milwaukee, Layton Art Gallery. [See page 277.] WHAT PICTURES TO SEE IN AMERICA BY LORINDA MUNSON BRYANT AUTHOR OF "Pictures and Their Painters," "What Pictures to Sec in Europe in One Summer," "What Sculpture to Sec in Europe," etc. WITH OVER 200 ILLUSTRATIONS NEW YORK JOHN LANE COMPANY MCMXV THE NEW YOKX I TO MY CLASSMATES OF GRANVILLE FEMALE COLLEGE INTRODUCTION SEE America first! was never a wiser watch- word than it is now, particularly as re- gards its treasures of art. To-day it is pos- sible to find in the museums of our various cities paintings that form a consecutive history from Giotto through Era Angelico, Botticelli, Raphael, Titian, Rubens, Rembrandt and Ve- lasquez to the modern masters of European and American art. That the general tourist may see and com- prehend the value of the vast number of paint- ings collected in our museums from the At- lantic to the Pacific, a careful selection must be made of special examples to be seen first. It is my purpose to act as a guide; pointing out to the hurried sightseer a few of the master- pieces in each gallery that these may serve as incentives to a further study of the pictures as time and inclination permit. To "guide" through a museum does not mean to exhaust all its treasures ; consequently let me insist that the two hundred and more INTRODUCTION examples mentioned in this volume are simply so many sign posts to assist those who wish to see intelligently without having had pre- vious preparation. It has been no easy task to collect data and photographs from the length and breadth of this great country ; in fact, it would have been impossible except for the kindly co-operation of the museum authorities of the various cities in suggesting their best pictures and sending photographs for reproduction. I wish that I might mention by name all who have aided in the work and thus thank them publicly for their assistance. As this is not feasible, the chapters devoted to the various collections will bespeak my appreciation of their wisdom. The courtesy of the Detroit Publishing Com- pany has been invaluable in solving the vexed copyright question and making possible many illustrations which otherwise could not have been used. I have unwillingly omitted collections in sev- eral cities because repeated efforts have failed to gain the hoped for co-operation of those in charge of the galleries. LORINDA MUNSON BrYANT. New York City, June, 1915. CONTENTS CHAPTER PAGE I. Boston, Museum of Fine Arts . 23 II. Boston, Museum of Fine Arts (Continued) 41 III. New Haven, Yale School of The Fine Arts, The Jarves Collec- tion 58 IV. New York City, Metropolitan Museum of Art 67 V. New York City, Metropolitan Museum of Art (Continued) . 79 VI. New York City, Metropolitan Museum of Art (Continued) 90 VII. New York City, Metropolitan Museum of Art (Continued) . 106 VIII. New York City, Metropolitan Museum of Art (Continued) . 120 IX. Brooklyn, Institute of Arts and Sciences 134 X. Brooklyn, Institute of Arts and Sciences (Continued) .... 145 XI. Philadelphia, The Pennsylvania Academy of the Fine Arts . 154 XII. Philadelphia, W. P. Wilstach Col- lection 164 XIII. Baltimore, Walters Gallery . 176 CONTENTS CHAPTER PAGE XIV. Washington, D. C. The Corcoran Gallery of Fine Art . 179 XV. Pittsburgh, Carnegie Institute . 191 XVI. Syracuse, Museum of Fine Arts . 202 XVII. Rochester, The Memorial Art Gallery 208 XVIII. Buffalo, Fine Arts Academy, Al- bright Art Gallery . 215 XIX. Toledo, The Toledo Museum of Art 222 XX. Detroit, Museum of Art . 228 XXI. Muskegon, The Hackley Public Library, Gallery OF Arts . 239 XXII. Chicago, The Art Institute . 247 XXIII. Chicago, The Art Institute (Con- tinued) 260 XXIV. Milwaukee, Layton Art Gallery 270 XXV. Minneapolis, Institute of Arts . 280 XXVI. Indianapolis, John Herron Art Institute 288 XXVII. Cincinnati Museum 297 XXVIII. New Orleans, Isaac Delgado Mu- seum OF Art 310 XXIX. Fort Worth, Texas, Carnegie Pub- lic Library 3^6 XXX. St. Louis, City Art Museum . 322 XXXI. Sacramento, E. B. Crocker Art Gallery 33° XXXII. San Francisco, Institute of Art 339 ILLUSTRATIONS Hark, the LarkI Winslow Homer. Milwaukee, Layton Art Gallery (Frontispiece) FIG. PAGE I. —Early Portrait of Philip IV. Velasquez, Boston, Museum of Fine Arts 26 2.—Don Baltazar Carles and his Dwarf. Velasquez. Boston, Museum of Fine Arts 26 3.—Old Man. Rembrandt. Boston, Museum of Fine Arts ... 27 4.—Dutch Interior. Pieter de Hooch. Boston, Museum of Fine Arts 27 Boston, of Fine Arts S. —Jealous Husband. Nicolaes Maes. Museum 32 6.—The Usurer. Gabriel Metsu. Boston, Museum of Fine Arts . 33 7. —Charles I. and Henrietta Maria. Van Dyck. Boston, Museum of Pine Arts 33 8. —Portrait of Washington. Gilbert Stuart. Boston, Museum of Fine Arts 38 9.—Slave Ship. Turner. Boston, Museum of Fine Arts .... 38 10. —The Harvesters Resting. Millet. Boston, Museum of Fine Arts 42 II.—Dante and Virgil. Corot. Boston, Museum of Fine Arts . 43 12. —Blacksmith of Lyme Regis. Whistler. Boston, Museum of Fine Arts 47 13.—The Halt of the Three Wise Men. La Farge. Boston, Museum of Fine Arts SO 14.—The Sphinx. Elihu Vedder. Boston, Museum of Fine Arts . so IS.—The Misses Boit. John Sargent. Boston, Museum of Fine Arts . si 16.—Fog Warning. Winslow Homer. Boston, Museum of Fine Arts . 51 17.—Isabella and the Pot of Basil. Alexander. Boston, Musetim of Fine Arts 54 18.—Madonna and Child. Fra Angelico. Boston, Museum of Fine Arts SS 19.—Saint Anthony Tempted by the Devil. Sassetta. New Haven, Yale School of the Fine Arts. Jarves Collection .... 60 20.—Coronation of the Virgin. Sano di Pietro. New Haven, Yale School of the Fine Arts. Jarves Collection 61 21.—Madonna and Child. Gentile da Fabriano. New Haven, Yale School of the Fine Arts. Jarves Collection 61 22.—Hercules Killing Nessus. Antonio Pallaiuolo. New Haven, Yale School of the Fine Arts. Jarves Collection .... 66 23.—Adoration of the Magi. Luca Signorelli. New Haven, Yale School of the Fine Arts. Jarves Collection 66 24.—James Stuart, Duke of Richmond. Van Dyck. Metropolitan Museum of Art. New York City 67 25.—^Young Woman with a Water Jar. Vermeer. Metropolitan Museum of Art. New York City 70 26.—Madonna and Child. Bellini. Metropolitan Museum of Art.
Load more

Recommended publications
  • Photographs of Paintings on Sale
    THE METROPOLITAN MUSEUM OF ART PHOTOGRAPHS OF PAINTINGS ON SALE NEW YORK 1928 The photographs listed in this pamphlet are on sale as follows: UNMOUNTED MOUNTED Sheet Dull or Dull or Size Glossy Gray Sepia Glossy Gray Sepia $. 15 $. 15 $. 20 4X 5 IO $. 8x 6o Io .40 . 50 . 50 . Mailing charges, 4x5, unmounted, $. o5, mounted, $. so; 8x Io, unmounted, $. Io, mounted, $. 15. ENLARGEMENTS ENLARGEMENTS UNMOUNTED MOUNTED ON MUSLIN Sheet Size Gray Sepia Gray Sepia IIX 14 $1.50 2.00 2.25 $2.75 14x17 3.00 3.50 4.00 4.50 18X zz 4.00 5.00 5.50 6.5o 20 X 24 5.00 6. oo 7.00 8.00 Mailing charges on enlargements vary according to size of enlargement and distance. The following symbols are used in the text: *pas- tel, **=water-color. Orders should be addressed to the Secretary of the Museum, and accompanied by post-office order or check drawn to The Metropolitan Museum of Art. Stamps are acceptable with small orders. H. W. KENT, Secretary PHOTOGRAPHS OF PAINTINGS Arranged Alphabetically according to Schools AMERICAN ABBEY, EDWIN A. BLAKELOCK, R. A. Dirge of Three Queens- Indian Encampment King Lear Pipe Dance ALEXANDER, JOHN BLASHFIELD, E. H. Ring Carry On Study in Black and Green BLUM, ROBERT Walt Whitman Ameya ALLSTON, WASHINGTON Street Scene, Ikao Deluge BOGERT, GEORGE Spanish Girl Chile Church, Isle of Wight AMERICAN SCHOOL October Moonlight Sarah Cornell Clarkson BOGGS, FRANK Miss Foote On the Thames Col. Marinus Willett BOHM, MAX AMES, JOSEPH Evening Meal James Topham Brady Nature and Imagination BAKER, GEORGE BRIDGES, CHARLES John F.
    [Show full text]
  • Sebasco Harbor Resort, Rte
    04_595881 ch01.qxd 6/28/06 9:57 PM Page 1 Chapter 1 Taking in the Scenery Awesome Vistas . 2 Seven Beautiful Bridges . 12 Drives . 20 Train Rides . 32 Boat Rides . 41 COPYRIGHTED MATERIAL Sequoia National Park. 04_595881 ch01.qxd 6/28/06 9:57 PM Page 2 TAKING IN THE SCENERY Awesome Vistas 1 Monument Valley The Iconic Wild West Landscape Ages 6 & up • Kayenta, Arizona, USA WHEN MOST OF US THINK of the American visits backcountry areas that are other- West, this is what clicks into our mental wise off-limits to visitors, including close- Viewmasters: A vast, flat sagebrush plain ups of several natural arches and with huge sandstone spires thrusting to Ancient Puebloan petroglyphs.) the sky like the crabbed fingers of a Sticking to the Valley Drive takes primeval Mother Earth clutching for the you to 11 scenic overlooks, once-in-a- heavens. Ever since movie director John lifetime photo ops with those incredible Ford first started shooting westerns here sandstone buttes for backdrop. Often in the 1930s, this landscape has felt famil- Navajos sell jewelry and other crafts at iar to millions who have never set foot the viewing areas, or even pose on horse- here. We’ve all seen it on the big screen, back to add local color to your snapshots but oh, what a difference to see it in real (a tip will be expected). life. John Wayne—John Ford’s favorite lead- If you possibly can, time your visit to ing cowboy—roamed these scrublands include sunset—as the sheer walls of on horseback, and seeing it from a West- these monoliths capture the light of the ern saddle does seem like the thing to do.
    [Show full text]
  • Insights from Stourhead Gardens
    Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid.
    [Show full text]
  • Automatic Meaning Discovery Using Google
    Automatic Meaning Discovery Using Google Paul Vitanyi CWI, University of Amsterdam, National ICT Australia Joint work with Rudi Cilibrasi New Scientist, Jan. 29, 2005 Slashdot: News for Nerds; Stuff that Matters, Jan. 28, 2005 Dutch Radio: TROS Radio Online, March 8, 2005 The Problem: Given: Literal objects (binary files) 1 2 3 45 Determine: “Similarity” Distance Matrix (distances between every pair) Applications: Clustering, Classification, Evolutionary trees of Internet documents, computer programs, chain letters, genomes, languages, texts, music pieces, ocr, …… TOOL: z Information Distance (Li, Vitanyi, 96; Bennett,Gacs,Li,Vitanyi,Zurek, 98) D(x,y) = min { |p|: p(x)=y & p(y)=x} Binary program for a Universal Computer (Lisp, Java, C, Universal Turing Machine) Theorem (i) D(x,y) = max {K(x|y),K(y|x)} Kolmogorov complexity of x given y, defined as length of shortest binary ptogram that outputs x on input y. (ii) D(x,y) ≤D’(x,y) Any computable distance satisfying ∑2 --D’(x,y) ≤ 1 for every x. y (iii) D(x,y) is a metric. However: z x X’ Y Y’ D(x,y)=D(x’,y’) = But x and y are much more similar than x’ and y’ z So, we Normalize: Li Badger Chen Kwong Kearney Zhang 01 Li Vitanyi 01/02 Li Chen Li Ma Vitanyi 04 z d(x,y) = D(x,y) Max {K(x),K(y)} Normalized Information Distance (NID) The “Similarity metric” Properties NID: z Theorem: (i) 0 ≤ d(x,y) ≤ 1 (ii) d(x,y) is a metric symmetric,triangle inequality,: d(x,x)=0 (iii) d(x,y) is universal d(x,y) ≤ d’(x,y) for every computable, normalized (0≤d’(x,y)≤1) distance satisfying standard “density” condition.
    [Show full text]
  • Guiderq> Educators
    *?i i<\ T Guide rQ> Educators • • The remarkable • • . • -. •. story of one young woman who lived and m^m irtitfir her country eould be free. Two-Part Mini-Series Airim ay, May 16, 1999 an Tuesday, May 18, 1999, 9:00-11:00 PM, ET/PT. Check local \'r* Tips for Using the JOAN OF ARC Educators' Guide and Website There are endless ways to create exciting lessons around the mini- series JOAN OF ARC. Here are some ideas to help you get started. Synopsis Before Viewing: Joan of Arc's humble roots begin in Domremy, in south­ • Review the SYNOPSES to familiarize ern France, during the Hundred Years' War. Joan's your students with the stories and father almost kills her at birth because he believes a characters in JOAN OF ARC. daughter cannot do the man's work that is needed. • Participate in the interactive ONLINE DISCUSSION with "Joan However, Joan is spared and grows up a clever and of Arc," to develop an understand­ defiant child, always seeking equal privilege to her ing about her place in history. brothers. Her life—and the fate of her country—begins • Assign JOAN OF ARC for viewing to change when she experiences visions and voices of as enrichment, homework, or extra credit. Saints Catherine, Michael, and Margaret. At 16, Joan After Viewing: leaves her family and village on her divine mission to • Use the DISCUSSION QUESTIONS help the Dauphin Charles gain his crown and, thus, and STUDENT ACTIVITIES in this unite France against its English enemies. guide to direct purposeful viewing and extend student investigation.
    [Show full text]
  • Illustrated Catalogue of Magic Lanterns
    OUR SPECIALTIES. 2. 3. 4. and Stereopticon Com- I —Dr. McIntosh Solar Microscope 5. bination. —McIntosh Combination Stereopticon. — McIntosh Professional Microscope. —Mclntosh-lves Saturator. —McIntosh Sciopticon. 6—Everything in Projection Apparatus. will be supplied Specialties manufactured or sold by other houses furnished to illustrate almost any at their advertised prices. Slides colored slides painted to order by the best artists of •ubject ; also the day. We have a commodious room fitted up to exhibit the practical working of our apparatus to prospective purchasers. TERMS. Registered Let- i. —Cash in current funds, which may be sent by sent C. O. D., ter, Draft, Postal Money Order or Express. Goods balance provided twenty-five per cent of bill is sent with order, the to be collected by the Express Company. greatest care to avoid 2 —All goods will be packed with the foi them breakage in transportation, but we cannot be responsible after leaving our premises, except under special contract. reported within ten days from 3. —Any errors in invoice must be receipt of goods. all no old stock. Our Goods are new ; we have and Nos. 141 AND 143 Wabash Ave„ CHICAGO, ILLS., U. S. A. ILLUSTRATED CATALOGUE Stereopticons, Sciopticons, DISSOLVING VIEW APPARATUS, MICROSCOPES, SOLAR MICROSCOPE STEREOPTICON COMBINATION, OBJECTIVES, PHOTOGRAPHIC TRANSPARENCIES, Artistically Colored Views and Microscopical Preparations. MANUFACTURED AND IMPORTED BY THE OPTICAL DEPARTMENT OP THE McIntosh Battery and Optical Co., Nos. 141 and 143 Wabash Ave, CHICAGO, ILLS,, U. S. A. THE WORLD’S INDUSTRIAL -A-isrio C&tlott Centennial ^Exposition* GEI^FIBIGAJFE OB AWAI^D dr. ^zccinBrTOSE:, UNITED STATES, FOE SOLAS MICROSCOPES AND OPTICAL INSTBUIEMTS, Sc.
    [Show full text]
  • Observations Made During a Tour Through Parts of England, Scotland
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com OBSERVATIO NS MADE DURING A T O U R THROUGH PARTS OP ENGLAND, SCOTLAND, and WALES. CONTENTS. Letter I. — Page i. TOPISTOLART introduction — The cause of travelling traced to its source — Of man in an uncultivated Jlate — In the first stages of society — In a more civilized condition — 'The advantages arising from travelling — "The different closes of travellers described — Observations on the extent of the metropolis of England — Pleasures attainable in London — Reflections on the wretched sttuation of women of the town, and on their seducers — A story of uncommon resolution — Of the Opera, Pantheon, Play-houses, &c. Letter II. — Page i3. Observations on sundry places in a journey from London to Bath, Richmond, Windsor — Meditations on human nature, excited by a walk on the terrace of Windsor castle. Letter III. — Page i9. The journey continued — Eaton college — The advantages and disad vantages of a public and of a private education pointed out, and the . preference given to the former — Account of an abrupt secession upon some disgust of the scholars belonging to Eaton school — Maidenhead bridge — Cliefden house — The city of Bath — Its antiquity — Baths — Quality of the waters — Buildings — Amusements — Prior park, with a poetical description of it by Mrs. Chandler. Letter IV. — Page 30. A tour from Bath through some of the southern parts of England . — Mendip-hills — The city of Wells — Its cathedral, and public build ings — Instance of filial ajfeclion — Ancient tombs — The library — A literary imposition detebled — Description of Okey-Hole, a famous cavern a near CONTENTS.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Normalized information distance Vitányi, P.M.B.; Balbach, F.J.; Cilibrasi, R.L.; Li, M. Publication date 2008 Link to publication Citation for published version (APA): Vitányi, P. M. B., Balbach, F. J., Cilibrasi, R. L., & Li, M. (2008). Normalized information distance. Institute for Logic, Language and Computation. http://arxiv.org/abs/0809.2553 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Chapter 3 Normalized Information Distance Paul M. B. Vita´nyi, Frank J. Balbach, Rudi L. Cilibrasi, and Ming Li Abstract The normali ed in!ormation distance is a uni"ersal distance measure !or ob#ects o! all kinds. $t is based on %olmogoro" com&le'ity and thus uncom&utable, but there are (ays to utili e it.
    [Show full text]
  • Klassische Philologie. Byzantinistik. Mittellateinische Und Neugriechische Philologie
    Regensburger Verbundklassifikation 6 Klassische Philologie. Byzantinistik. Mittellateinische und Neugriechische Philologie. Neulatein (F) Stand: März 2017 Universitätsbibliothek Regensburg INHALTSVERZEICHNIS Inhaltsverzeichnis Schlüssel zur Ordnung der Primär- und Sekundärliteratur bei Autoren und Anonyma – P1F 3 Schlüssel zur Ordnung der Primär- und Sekundärliteratur bei lateinischen Autoren und Anonyma der Antike – P2F 4 Schlüssel zur Ordnung der Primär- und Sekundärliteratur bei neulateinischen Autoren und Anonyma – P3F 5 Schlüssel zur Ordnung der Primär- und Sekundärliteratur – P4F 6 Personenschlüssel – P5F 7 Zeitschriften 8 Klassische Philologie 8 Altertumskunde 11 Klassische Sprachen i.a. (Griechisch und Latein umfassende Arbeiten) 15 Klassische Literaturen i.a. (Griechisch und Latein umfassende Arbeiten) 16 Griechische Philologie (Gräzistik) 17 Neugriechisch 21 Griechische Literaturwissenschaft und -geschichte 23 Christliche Literatur in griechischer Sprache 28 Neugriechische Literaturwissenschaften und -geschichte 31 Griechische Autoren und Anonyma 34 Byzantinische Literatur 100 Neugriechische Literatur 146 Lateinische Philologie (Latinistik) 163 Vulgärlatein 165 Kirchenlatein 166 Mittellatein 166 Neulatein 168 Lateinische Literaturwissenschaft und -geschichte - Antike 170 Lateinische Literaturwissenschaft und -geschichte - Mittelalter 177 Lateinische Literaturwissenschaft und -geschichte, Humanismus bis Gegenwart 180 Lateinische Autoren und Inschriften der Antike 182 Lateinische Autoren und Anonyma des Mittelalters 257 Neulateinische
    [Show full text]
  • How Legend Constructs French National Identity: Jeanne D'arc
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 How Legend Constructs French National Identity: Jeanne d'Arc Stephanie Louise Coker Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation Coker, Stephanie Louise, "How Legend Constructs French National Identity: Jeanne d'Arc" (2007). LSU Doctoral Dissertations. 2459. https://digitalcommons.lsu.edu/gradschool_dissertations/2459 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HOW LEGEND CONSTRUCTS FRENCH NATIONAL IDENTITY: JEANNE D’ARC A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of French Studies by Stephanie Louise Coker B.A., Mississippi College, 2000 M.A., Louisiana State University, 2004 December 2007 © Copyright 2007 Stephanie Louise Coker All Rights Reserved ii Acknowledgements First, I want to express my heartfelt gratitude to Katharine Jensen. Thank you for believing in me as a scholar, encouraging my creative interpretation of texts, and helping me to hone my writing skills. Your enthusiasm in the classroom and your constant pursuit of excellence both in teaching and writing inspire and challenge me. While others might have dismissed my fascination with that famous maiden Jeanne d’Arc, you wholeheartedly supported my passion.
    [Show full text]
  • Venezia Altrove: Almanacco 2004
    venezialtrove3 OK 18-02-2005 12:42 Pagina 1 venezialtrove3 OK 18-02-2005 12:42 Pagina 2 venezialtrove3 OK 18-02-2005 12:42 Pagina 3 almanacco della presenza veneziana nel mondo almanac of the venetian presence in the world fondazione venezia 2000 Ma r s i l i o venezialtrove3 OK 18-02-2005 12:42 Pagina 4 a cura di/edited by Fabio Isman hanno collaborato/texts by Linda Borean Sandro Cappelletto Giuseppe De Rita Rosella Lauber Giovanna Nepi Scirè Francesca Pitacco Giandomenico Romanelli si ringraziano/many thanks to Andrea Emiliani Holly Fresbee (Philadelphia Museum of Art) Augusto Gentili Norman Keyes (Philadelphia Museum of Art) Stefania Mason Gioia Mori Valerio Tura (Théâtre de la Monnaie) Veerle Wallebroek (Théâtre de la Monnaie) in collaborazione con Fondazione di Venezia in collaboration with traduzione inglese Tina Cawthra English translation progetto grafico/layout Studio Tapiro, Venezia © 2004 Marsilio Editori® s.p.a. in Venezia isbn 88-317-8602-6 www.marsilioeditori.it In copertina: Tiziano Vecellio, Morte di Atteone (dettaglio), Londra, National Gallery. Il dipinto è acquistato nel 1799 da sir Abraham Hume, un colto viaggiatore inglese, in un’asta nella quale passarono ben ventotto opere del maestro cadorino, di proprietà di Louis Philippe Joseph d’Orléans. Front cover: Tiziano Vecellio (Titian), Death of Actaeon (detail), London, National Gallery. The painting was bought in 1799 by the educated English traveller Sir Abraham Hume at an auction which sold no less than twenty-eight paintings by the artist from Cadore, belonging
    [Show full text]
  • Charles Borromeo from Archbishop of Milan to Saint of the Monarchy
    CON SER SANTO PUSO A RIESGO DE DESCOMPONERSE MUCHO ESTA CIUDAD Y ESTADO: CARLO BORROMEO Da arCIVESCovo DI MIlaNO A saNto DElla moNarCHIA Con ser Santo puso a riesgo de descomponerse mucho esta ciudad y estado: Charles Borromeo from archbishop of Milan to saint of the Monarchy MASSIMO carlo giannini* Recibido: 04-04-2017 Aprobado: 24-10-2017 RESUMEN Entre los muchos santos de la Contrarreforma Carlos Borromeo es uno de los casos más citados. En este artículo se pretende desmenuzar los elementos de su santidad, de acuerdo con la imagen de obispo santo contrarreformista que ofrece buena parte de la historiografía, analizando el proceso mediante el cual se construye dicha imagen. Diversos especialistas se han interesado en los mecanismos de una canonización que se realizó con relativa rapidez: el cardenal y arzobispo de Milán falleció el 3 de noviembre de 1584, y fue elevado a la gloria de los altares en julio de 1610. Sin embargo, aún falta un cuadro capaz de recomponer en conjunto las numerosas y dispersas teselas que la hagiografía, en primer lugar, y la historiografía, en segundo lugar, han recogido. El mosaico creado en este estudio muestra cómo hay numerosos elementos disonantes con respecto a la tradición hagiográfica, y a la historiografía, que más recientemente se ha ocupado de la santidad borromaica en su parte puramente censitaria e inquisitorial. De este nuevo análisis de su proceso de canonización se desprende en especial una estratificación de los distintos problemas y tensiones que se sucedieron en el camino, tanto en los círculos eclesiásticos como en los laicos.
    [Show full text]