Bioluminescence and 16Th Century Caravaggism
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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. -
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. -
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. -
United States Patent 19 11 Patent Number: 5,766,941 Cormier Et Al
USO05766941A United States Patent 19 11 Patent Number: 5,766,941 Cormier et al. 45) Date of Patent: Jun. 16, 1998 54 RECOMBINANT DNA VECTORS CAPABLE Inouye. S. et al., "Cloning and sequence analysis of cDNA OF EXPRESSINGAPOAEQUORIN for the luminescent protein aequorin." Proc. Natl. Acad. Sci. USA, vol. 82, pp. 3154-3158. (May 1985). (75) Inventors: Milton J. Cormier, Bogart. Ga.; Tsuji, F.I. et al., "Site-specific mutagenesis of the calci Douglas Prasher. East Falmouth, Mass. um-binding photoprotein aequorin.” Proc. Natl. Acad. Sci. USA, vol. 83, pp. 8107-8111. (Nov. 1986). 73) Assignee: University of Georgia Research Charbonneau, H. et al., "Amino Acid Sequence of the Foundation, Inc., Athens. Ga. Calcium-Dependent Photoprotein Aequorin ." Biochemis try, vol. 24, No. 24. pp. 6762-6771. (Nov. 19, 1985). (21) Appl. No.: 487,779 Shimomura, O. et al., “Resistivity to denaturation of the apoprotein of aequorin and reconstitution of the luminescent 22 Filed: Jun. 7, 1995 photoprotein from the partially denatured apoprotein." Bio chem. J. vol. 199, pp. 825-828. (Dec. 1981). Related U.S. Application Data Prendergast, F.G. et al., "Chemical and Physical Properties 63 Continuation of Ser. No. 346,379, Nov. 29, 1994, which is of Aequorin and the Green Fluorescent Protein Isolated from a continuation of Ser. No. 960,195, Oct. 9, 1992, Pat. No. Aequorea forskalea." American Chemical Society, vol. 17. 5,422,266, which is a continuation of Ser, No. 569,362, Aug. No. 17. pp. 3449-3453. (Aug. 1978). 13, 1990, abandoned, which is a continuation of Ser. No. Shimomura. O. et al., "Chemical Nature of Bioluminescence 165,422, Feb. -
Brazilian Bioluminescent Beetles: Reflections on Catching Glimpses of Light in the Atlantic Forest and Cerrado
Anais da Academia Brasileira de Ciências (2018) 90(1 Suppl. 1): 663-679 (Annals of the Brazilian Academy of Sciences) Printed version ISSN 0001-3765 / Online version ISSN 1678-2690 http://dx.doi.org/10.1590/0001-3765201820170504 www.scielo.br/aabc | www.fb.com/aabcjournal Brazilian Bioluminescent Beetles: Reflections on Catching Glimpses of Light in the Atlantic Forest and Cerrado ETELVINO J.H. BECHARA and CASSIUS V. STEVANI Departamento de Química Fundamental, Instituto de Química, Universidade de São Paulo, Av. Prof. Lineu Prestes, 748, 05508-000 São Paulo, SP, Brazil Manuscript received on July 4, 2017; accepted for publication on August 11, 2017 ABSTRACT Bioluminescence - visible and cold light emission by living organisms - is a worldwide phenomenon, reported in terrestrial and marine environments since ancient times. Light emission from microorganisms, fungi, plants and animals may have arisen as an evolutionary response against oxygen toxicity and was appropriated for sexual attraction, predation, aposematism, and camouflage. Light emission results from the oxidation of a substrate, luciferin, by molecular oxygen, catalyzed by a luciferase, producing oxyluciferin in the excited singlet state, which decays to the ground state by fluorescence emission. Brazilian Atlantic forests and Cerrados are rich in luminescent beetles, which produce the same luciferin but slightly mutated luciferases, which result in distinct color emissions from green to red depending on the species. This review focuses on chemical and biological aspects of Brazilian luminescent beetles (Coleoptera) belonging to the Lampyridae (fireflies), Elateridae (click-beetles), and Phengodidae (railroad-worms) families. The ATP- dependent mechanism of bioluminescence, the role of luciferase tuning the color of light emission, the “luminous termite mounds” in Central Brazil, the cooperative roles of luciferase and superoxide dismutase against oxygen toxicity, and the hypothesis on the evolutionary origin of luciferases are highlighted. -
Cell Junctions in the Excitable Epithelium of Bioluminescent Scales on a Polynoid Worm: a Freeze-Fracture and Electrophysiological Study
J. Cell Sci. 41, 341-368 (1980) 341 Printed in Great Britain © Company of Biologists Limited 1980 CELL JUNCTIONS IN THE EXCITABLE EPITHELIUM OF BIOLUMINESCENT SCALES ON A POLYNOID WORM: A FREEZE-FRACTURE AND ELECTROPHYSIOLOGICAL STUDY A. BILBAUT Laboratoire d'Histologie et Biologie Tissulaire, University Claude Bernard, 43 Bd. du 11 Novembre 1918 69621, ViUeurbairne, France. SUMMARY The bioluminescent scales of the polynoid worm Acholoe are covered by a dorsal and ventral monolayer of epithelium. The luminous activity is intracellular and arises from the ventral epithelial cells, which are modified as photocytes. Photogenic and non-photogenic epithelial cells have been examined with regard to intercellular junctions and electrophysiological properties. Desmosomes, septate and gap junctions are described between all the epithelial cells. Lan- thanum impregnation and freeze-fracture reveal that the septate junctions belong to the pleated- type found in molluscs, arthropods and other annelid tissues. Freeze-fractured gap junctions show polygonal arrays of membrane particles on the P face and complementary pits on the E face. Gap junctions are of the P type as reported in vertebrate, mollusc and some annelid tissues, d.c. pulses injected intracellularly into an epithelial cell are recorded in neighbouring cells. Intracellular current passage also induces propagated non-overshooting action potentials in all the epithelial cells; in photocytes, an increase of injected current elicits another response which is a propagated 2-component overshooting action potential correlated with luminous activity. This study shows the coexistence of septate and gap junctions in a conducting and excitable invertebrate epithelium. The results are discussed in relation to the functional roles of inter- cellular junctions in invertebrate epithelia. -
Honthorst, Gerrit Van Also Known As Honthorst, Gerard Van Gherardo Della Notte Dutch, 1592 - 1656
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Honthorst, Gerrit van Also known as Honthorst, Gerard van Gherardo della Notte Dutch, 1592 - 1656 BIOGRAPHY Gerrit van Honthorst was born in Utrecht in 1592 to a large Catholic family. His father, Herman van Honthorst, was a tapestry designer and a founding member of the Utrecht Guild of St. Luke in 1611. After training with the Utrecht painter Abraham Bloemaert (1566–1651), Honthorst traveled to Rome, where he is first documented in 1616.[1] Honthorst’s trip to Rome had an indelible impact on his painting style. In particular, Honthorst looked to the radical stylistic and thematic innovations of Caravaggio (Roman, 1571 - 1610), adopting the Italian painter’s realism, dramatic chiaroscuro lighting, bold colors, and cropped compositions. Honthorst’s distinctive nocturnal settings and artificial lighting effects attracted commissions from prominent patrons such as Cardinal Scipione Borghese (1577–1633), Cosimo II, the Grand Duke of Tuscany (1590–1621), and the Marcheses Benedetto and Vincenzo Giustiniani (1554–1621 and 1564–1637). He lived for a time in the Palazzo Giustiniani in Rome, where he would have seen paintings by Caravaggio, and works by Annibale Carracci (Bolognese, 1560 - 1609) and Domenichino (1581–-1641), artists whose classicizing tendencies would also inform Honthorst’s style. The contemporary Italian art critic Giulio Mancini noted that Honthorst was able to command high prices for his striking paintings, which decorated -
“The Concert” Oil on Canvas 41 ½ by 52 ½ Ins., 105.5 by 133.5 Cms
Dirck Van Baburen (Wijk bij Duurstede, near Utrecht 1594/5 - Utrecht 1624) “The Concert” Oil on canvas 41 ½ by 52 ½ ins., 105.5 by 133.5 cms. Dirck van Baburen was the youngest member of the so-called Utrecht Caravaggisti, a group of artists all hailing from the city of Utrecht or its environs, who were inspired by the work of the famed Italian painter, Caravaggio (1571-1610). Around 1607, Van Baburen entered the studio of Paulus Moreelse (1571- 1638), an important Utrecht painter who primarily specialized in portraiture. In this studio the fledgling artist probably received his first, albeit indirect, exposure to elements of Caravaggio’s style which were already trickling north during the first decade of the new century. After a four-year apprenticeship with Moreelse, Van Baburen departed for Italy shortly after 1611; he would remain there, headquartered in Rome, until roughly the summer of 1620. Caravaggio was already deceased by the time Van Baburen arrived in the eternal city. Nevertheless, his Italian period work attests to his familiarity with the celebrated master’s art. Moreover, Van Baburen was likely friendly with one of Caravaggio’s most influential devotees, the enigmatic Lombard painter Bartolomeo Manfredi (1582-1622). Manfredi and Van Baburen were recorded in 1619 as living in the same parish in Rome. Manfredi’s interpretations of Caravaggio’s are profoundly affected Van Baburen as well as other members of the Utrecht Caravaggisti. Van Baburen’s output during his Italian sojourn is comprised almost entirely of religious paintings, some of which were executed for Rome’s most prominent churches. -
Mario Minniti Young Gallants
Young Gallants 1) Boy Peeling Fruit 1592 2) The Cardsharps 1594 3) Fortune-Teller 1594 4) David with the Head 5) David with the Head of Goliath 1607 of Goliath 1610 Mario Minniti 1) Fortune-Teller 1597–98 2) Calling of Saint 3) Musicians 1595 4) Lute Player 1596 Matthew 1599-00 5) Lute Player 1600 6) Boy with a Basket of 7) Boy Bitten by a Lizard 8) Boy Bitten by a Lizard Fruit 1593 1593 1600 9) Bacchus 1597-8 10) Supper at Emmaus 1601 Men-1 Cecco Boneri 1) Conversion of Saint 2) Victorious Cupid 1601-2 3) Saint Matthew and the 4) John the Baptist 1602 5) David and Goliath 1605 Paul 1600–1 Angel, 1602 6) Seven Acts of Mercy, 1606 7) Seven Acts of Mercy, 1606 7) Nativity with Saints Lawrence and Francis, 1609 K 1) Martyrdom of Saint 2) Conversion of Saint Paul 3) Saint John the Baptist at Self portraits Matthew 1599-1600 1600-1 the Source 1608 1) Musicians 1595 2) Bacchus1593 3) Medusa 1597 4) Martyrdom of Saint Matthew 1599-1600 5) Judith Beheading 6) David and Goliath 7) David with the Head 8) David with the Head 9) Ottavia Leoni, 1621-5 Holofernes 1598 1605 of Goliath 1607 of Goliath 1610 Men 2 Women Fillide Melandroni 1) Portrait of Fillide 1598 2) Judith Beheading 3) Conversion of Mary Holoferne 1598 Magdalen 1599 4) Saint Catherine 5) Death of the 6) Magdalen in of Alexandria 1599 Virgin 1605 Ecstasy 1610 A 1) Fortune teller 1594 2) Fortune teller 1597-8 B 1) Madonna of 2) Madonna dei Loreto 1603–4 Palafrenieri 1606 Women 1 C 1) Seven Acts of Mercy 2) Holy Family 1605 3) Adoration of the 4) Nativity with Saints Lawrence 1606 Shepherds -
Discovery of a Previously Unknown Painting by Ribera
PRESS RELEASE Discovery of a previously unknown painting by Ribera Auction, Friday 27 March 2020, at Drouot, Paris. Auctioneer : Daguerre Expert : Cabinet Turquin Discovery of a previously unknown pain- ting by Ribera, a major 17th century artist Jusepe de Ribera (1591-1652) was only 20 years old when he painted this work, « The Mathematician ». The Spanish born artist was yet to achieve his renown as the great painter of Naples, the city considered to be one of the most important artistic centers of the 17th century. It is in Rome, before this Neapolitan period, in around 1610, that Ribera paints this sin- gular and striking allegory of Knowledge. The painting is unrecorded and was unknown to Ribera specialists. Now authenticated by Stéphane Pinta from the Cabinet Turquin, the work is to be sold at auction at Drouot on 27 March 2020 by the auction house Daguerre with an estimate of 200,000 to 300,000 Euros. 4 key facts to understand the painting 1. This discovery sheds new light on the artist’s early period that today lies at the heart of research being done on his oeuvre. 2. The painting portrays one of the artist’s favorite models, one that he placed in six other works from his Roman period. 3. In this painting, Ribera gives us one of his most surprising and colorful figures; revealing a sense of humor that was quite original for the time. 4. His experimenting with light and his choosing of a coarse and unfortunate sort of character to represent a savant echo both the chiaroscuro and the provocative art of Caravaggio. -
New Light on Mattia and Gregorio Preti
ENGLISH NEW LIGHT ON MATTIA AND GREGORIO PRETI The restoration of the Allegory of the Five Senses THE RESTORATION OF THE ALLEGORY OF THE FIVE SENSES BY GREGORIO AND MATTIA PRETI Alessandro Cosma, Yuri Primarosa A painter aged around forty, with the tools of his trade in his hand, turns to- wards us with aristocratic condescension, almost as if inviting us to partici- pate in the cheerful symposium taking place behind him (Fig. 1). His facial features and grooming – black hair, olive complexion, ruddy cheeks and thick dark handlebar moustache – are reminiscent of early 17th-century Calabria, which the brothers Gregorio and Mattia Preti had left at the start of the Bar- berini papacy (1623-1644) to seek their fortunes in the Papal capital. The artist, spectator and creator of the allegorical scene, should probably be identified as Gregorio Preti (Taverna 1603 - Rome 1672). He has depicted him- self aged around forty, wearing an ample blue-grey surcoat at a time when he could still be considered to hold a pre-eminent position in the manage- ment of the family workshop. Beneath the repaintings and adjustments made during its execution, the X-ray images of the canvas show the presence of an older looking face, with a fairly pronounced receding hairline, a large double chin and marked wrinkles around the eyes and on the forehead (Fig. 2): this appearance is difficult to reconcile with that of the younger and more talented Mattia (Taverna 1613 - Malta 1699), who was barely thirty at the time. Fig. 1 – GREGORIO AND MATTIA PRETI, Allegory of the Five Senses, detail of the self-portrait of Gregorio Preti Fig.