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Moses -- Exodus 2:1-10 David and Goliath (I Samuel 17:1-58)
Moses -- Exodus 2:1-10 Exodus 2:1-10 New International Version (NIV) The Birth of Moses 2 Now a man of the tribe of Levi married a Levite woman, 2 and she became pregnant and gave birth to a son. When she saw that he was a fine child, she hid him for three months. 3 But when she could hide him no longer, she got a papyrus basket[a] for him and coated it with tar and pitch. Then she placed the child in it and put it among the reeds along the bank of the Nile. 4 His sister stood at a distance to see what would happen to him. 5 Then Pharaoh’s daughter went down to the Nile to bathe, and her attendants were walking along the riverbank. She saw the basket among the reeds and sent her female slave to get it. 6 She opened it and saw the baby. He was crying, and she felt sorry for him. “This is one of the Hebrew babies,” she said. 7 Then his sister asked Pharaoh’s daughter, “Shall I go and get one of the Hebrew women to nurse the baby for you?” 8 “Yes, go,” she answered. So the girl went and got the baby’s mother. 9 Pharaoh’s daughter said to her, “Take this baby and nurse him for me, and I will pay you.” So the woman took the baby and nursed him. 10 When the child grew older, she took him to Pharaoh’s daughter and he became her son. -
Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer's the Lady And
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 12 (2016) 27–44 DOI: 10.1515/ausfm-2016-0002 Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer’s The Lady and the Duke Giacomo Tagliani University of Siena (Italy) E-mail: [email protected] Abstract. In The Lady and the Duke (2001), Eric Rohmer provides an unusual and “conservative” account of the French Revolution by recurring to classical and yet “revolutionary” means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in a complex dynamic of “reality effect” and critical meta-discourse. The aim of this paper is the analysis of the main discursive strategies deployed by the film to disclose an intermedial effectiveness in the light of its original digital aesthetics. Furthermore, it focuses on the problematic relationship between image and reality, deliberately addressed by Rohmer through the dichotomy simulation/illusion. Finally, drawing on the works of Louis Marin, it deals with the representation of history and the related ideology, in order to point out the film’s paradoxical nature, caught in an undecidability between past and present. Keywords: Eric Rohmer, simulation, illusion, history and discourse, intermediality, tableau vivant. The representation of the past is one of the domains, where the improvement of new technologies can effectively disclose its power in fulfilling our “thirst for reality.” No more cardboard architectures nor polystyrene stones: virtual environments and motion capture succeed nowadays in conveying a truly believable reconstruction of distant times and worlds. -
The Arts Thrive Here
Illustrated THE ARTS THRIVE HERE Art Talks Vivian Gordon, Art Historian and Lecturer at the Metropolitan Museum of Art, will present the following: REMEMBERING BIBLICAL WOMEN ARTISTS IN THEIR STUDIOS Monday, April 13, at 1PM Wednesday, May 20, at 1PM Feast your eyes on some of the most Depicting artists at work gives insight into the beautiful paintings ever. This illustrated talk will making of their art as well as their changing status examine how and why biblical women such as in society.This visual talk will show examples Esther, Judith, and Bathsheba, among others, from the Renaissance, the Impressionists, and were portrayed by the “Masters.” The artists Post-Impressionists-all adding to our knowledge to be discussed include Mantegna, Cranach, of the nature of their creativity and inspiration. Caravaggio, Rubens, and Rembrandt. FINE IMPRESSIONS: CAILLEBOTTE, SISLEY, BAZILLE Monday, June 15, at 1PM This illustrated lecture will focus on the work of three important (but not widely known) Impressionist painters. Join us as Ms. Gordon introduces the art, lives and careers of these important fi gures in French Impressionist art. Ines Powell, Art Historian and Educator at the Metropolitan Museum of Art, will present the following: ALBRECHT DURER and HANS HOLBEIN the ELDER Thursday, April 23, at 1PM Unequaled in his artistic and technical execution of woodcuts and engravings, 16th century German artist Durer revolutionized the art world, exploring such themes as love, temptation and power. Hans Holbein the Elder was a German painter, a printmaker and a contemporary of Durer. His works are characterized by deep, rich coloring and by balanced compositions. -
Jan Lievens (Leiden 1607 – 1674 Amsterdam)
Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes. -
Observations on 666 in the Old Testament
University of Wollongong Research Online Faculty of Engineering and Information Faculty of Informatics - Papers (Archive) Sciences 6-1999 Observations on 666 in the Old Testament M. G. Michael University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/infopapers Part of the Physical Sciences and Mathematics Commons Recommended Citation Michael, M. G.: Observations on 666 in the Old Testament 1999. https://ro.uow.edu.au/infopapers/672 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Observations on 666 in the Old Testament Disciplines Physical Sciences and Mathematics Publication Details This article was originally published as Michael, MG, Observations on 666 in the Old Testament, Bulletin of Biblical Studies, 18, January-June 1999, 33-39. This journal article is available at Research Online: https://ro.uow.edu.au/infopapers/672 RULLeTIN OF RIRLICkL STuDies Vol. 18, January - June 1999, Year 28 CONTENTS Prof. George Rigopoulos, ...~ Obituary for Oscar Cullmann 5 .., Prof. Savas Agourides, The Papables of Preparedness in Matthew's Gospel 18 Michael G. Michael, Observations on 666 in the Old Testament. 33 Prof. George Rigopoulos, Jesus and the Greeks (Exegetical Approach of In. 12,20-26) (Part B'). .. 40 Zoltan Hamar, Grace more immovable than the mountains 53 Raymond Goharghi, The land of Geshen in Egypt. The Ixos 99 Bookreviews: Prof. S. Agourides: Jose Saramagu, The Gospel according to Jesus - Karen Armstrong, In the Beginning, A new Interpretation ojthe Book ojGenesis ; 132 EDITIONS «ARTOS ZOES» ATHENS RULLeTIN OF RIRLIC~L STuDies Vol. -
No, Not Caravaggio
2 SEPTEMBER2018 I valletta 201 a NO~ NOT CARAVAGGIO Crowds may flock to view Caravaggio's Beheading of StJohn another artist, equally talented, has an even a greater link with-Valletta -Mattia Preti. n 1613, in the small town of Taverna, in Calabria, southern Italy, a baby boy was born who would grow up to I become one of the world's greatest and most prolific artists of his time and to leave precious legacies in Valletta and the rest of Malta. He is thought to have first been apprenticed to Giovanni Battista Caracciolo, who was known as a follower and admirer of Caravaggio. His brother, Gregorio, was also a painter and painted an altarpiece for the Chapel of . the world designed and built by Preti, sometime in the 1620s Preti joined.him in the Langue of Aragon, Preti offered to do and no fewer than seven of his paintings Rome. · more wor1< on the then new and very, hang within it. They include the There he grasped Caravaggio's bareSt John's Co-Cathedral. Grand monumental titular painting and others techniques and those of other famous Master Raphael Cotoner accepted his which fit perfectly in the architecturally and popular artists of the age, including offer·and commissioned him to decorate designed stone alcoves he created for Rubens and Giovanni Lanfranco. the whole vaulted ceiling. The them. Preti spent time in Venice between 1644 magnificent scenes from the life of St In keeping with the original need for and 1646 taking the chance to observe the John took six years and completely the church, the saints in the images are all opulent Venetian styles and palettes of transformed the cathedral. -
Art, Argento and the Rape-Revenge Film
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 13 | Autumn 2011 Title The Violation of Representation: Art, Argento and the Rape-Revenge Film Author Alexandra Heller-Nicholas Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 13 Issue Date Autumn 2011 Publication Date 6/12/2011 Editors Dorothy Butchard & Barbara Vrachnas FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM | ISSUE 13 Alexandra Heller-Nicholas 1 The Violation of Representation: Art, Argento and the Rape-Revenge Film Alexandra Heller-Nicholas Swinburne University of Technology Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The ‘Heroic’ Tradition and Its Alternatives (1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. -
Syllabus, Deuterocanonical Books
The Deuterocanonical Books (Tobit, Judith, 1 & 2 Maccabees, Wisdom, Sirach, Baruch, and additions to Daniel & Esther) Caravaggio. Saint Jerome Writing (oil on canvas), c. 1605-1606. Galleria Borghese, Rome. with Dr. Bill Creasy Copyright © 2021 by Logos Educational Corporation. All rights reserved. No part of this course—audio, video, photography, maps, timelines or other media—may be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval devices without permission in writing or a licensing agreement from the copyright holder. Scripture texts in this work are taken from the New American Bible, revised edition © 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C. and are used by permission of the copyright owner. All Rights Reserved. No part of the New American Bible may be reproduced in any form without permission in writing from the copyright owner. 2 The Deuterocanonical Books (Tobit, Judith, 1 & 2 Maccabees, Wisdom, Sirach, Baruch, and additions to Daniel & Esther) Traditional Authors: Various Traditional Dates Written: c. 250-100 B.C. Traditional Periods Covered: c. 250-100 B.C. Introduction The Deuterocanonical books are those books of Scripture written (for the most part) in Greek that are accepted by Roman Catholic and Eastern Orthodox churches as inspired, but they are not among the 39 books written in Hebrew accepted by Jews, nor are they accepted as Scripture by most Protestant denominations. The deuterocanonical books include: • Tobit • Judith • 1 Maccabees • 2 Maccabees • Wisdom (also called the Wisdom of Solomon) • Sirach (also called Ecclesiasticus) • Baruch, (including the Letter of Jeremiah) • Additions to Daniel o “Prayer of Azariah” and the “Song of the Three Holy Children” (Vulgate Daniel 3: 24- 90) o Suzanna (Daniel 13) o Bel and the Dragon (Daniel 14) • Additions to Esther Eastern Orthodox churches also include: 3 Maccabees, 4 Maccabees, 1 Esdras, Odes (which include the “Prayer of Manasseh”) and Psalm 151. -
Avhandling Ne...Ng Heresy.Pdf
Negotiating Heresy The Reception of Origen in Jerome's Eschatological Thought Pålsson, Katarina 2019 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Pålsson, K. (2019). Negotiating Heresy: The Reception of Origen in Jerome's Eschatological Thought. Lunds universitet, Media-Tryck . Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Negotiating Heresy The Reception of Origen in Jerome’s Eschatological Thought KATARINA PÅLSSON CENTRE FOR THEOLOGY AND RELIGIOUS STUDIES | LUND UNIVERSITY Jerome of Stridon (347-419/20) has largely been remembered for the controversies in which he was engaged. His work as a polemicist and a defender of what he considered to be orthodox teaching has been seen as defining. -
Jusepe De Ribera and the Dissimulation of Sight
Jusepe de Ribera and the Dissimulation of Sight Paper abstract Itay Sapir, Italian Academy, Fall 2011 My overarching research program discusses seventeenth-century Central Italian painting as the site of epistemological subversion. In the Italian Academy project, the contribution of the Hispano-Neapolitan painter Jusepe/José de Ribera to the treatment of these issues will be analyzed. Early in his career, in his Roman years, Ribera was one of the most direct followers of Caravaggio; however, later on he evolved into a fully individual artistic personality, and developed further some of Caravaggio’s innovations. Most current research on Ribera concentrates on filling in the lacunae in the artist’s biography, on describing the change of style that arguably occurred around 1635 from darker, “naturalist” paintings to a more idealistic, classical style, and on discussing Ribera’s confused “national” character as a Spanish- born artist working in Spanish-ruled Naples to patrons both Spanish and Italian. My project will attempt to interpret Ribera’s art in terms of its epistemological stance on questions of sensorial perception, information transmission and opaque mimesis. Iconographical depictions of the senses are a convenient starting point, but I would like to show how Ribera’s pictorial interest in these issues can be detected even in works whose subject matter is more diverse. Some specific points of interest: Ribera’s depiction of figures’ eyes, often covered with thick shadows and thus invisible to the spectator’s gaze and complicating the visual network within the diegetic space of the work; sustained interest in sight deficiencies; and emphasis on haptic elements such as skin teXtures. -
Episode 5 Boy Bitten by a Lizard by Caravaggio Highlights
EpisodE 5 Boy Bitten by a Lizard by Caravaggio Highlights Caravaggio’s painting contains a lesson to the viewer about the transience of youth, the perils of sensual pleasure, and the precariousness of life. Questions to Consider 1. How do you react to the painting? Does your impression change after the first glance? 2. What elements of the painting give it a sense of intimacy? 3. Do you share Januszczak’s sympathies with the lizard, rather than the boy? Why or why not? Other works Featured Salome with the Head of St. John the Baptist (1607-1610), Caravaggio Young Bacchus (1593), Caravaggio The Fortune Teller (ca. 1595), Caravaggio The Cardsharps (ca. 1594), Caravaggio The Taking of Christ (1602), Caravaggio The Lute Player (ca. 1596), Caravaggio Contarelli Chapel paintings, Church of San Luigi dei Francesi: The Calling of St. Matthew, The Martyrdom of St. Matthew, The Inspiration of St. Matthew (1597-1602), Caravaggio The Beheading of St. John the Baptist (1608), Caravaggio The Sacrifice of Isaac (1601-02), Caravaggio David (1609-10), Caravaggio Bacchus (ca. 1596), Caravaggio Boy with a Fruit Basket (1593), Caravaggio St. Jerome (1605-1606), Caravaggio ca. 1595-1600 (oil on canvas) National Gallery, London A Table Laden with Flowers and Fruit (ca. 1600-10), Master of the Hartford Still-Life 9 EPTAS_booklet_2_20b.indd 10-11 2/20/09 5:58:46 PM EpisodE 6 Mona Lisa by Leonardo da Vinci Highlights A robbery and attempted forgery in 1911 helped propel Mona Lisa to its position as the most famous painting in the world. Questions to Consider 1. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates.