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Entablature Refers to the System of Moldings and Bands Which Lie Horizontally Above Columns, Resting on Their Capitals
An entablature refers to the system of moldings and bands which lie horizontally above columns, resting on their capitals. Considered to be major elements of classical architecture, entablatures are commonly divided into three parts: the architrave, frieze, and cornice. E ntablature by stromberg ARCHITRAVE The architrave is the supporting element, and the lowest of the three main parts of an entablature: the undecorated lintel resting on the columns. FRIEZE The frieze is the plain or decorated horizontal unmolded strip located between the cornice and the architrave. Clay Academy, Dallas, TX Stromberg offers you the freedom to choose. Whether your project requires authentic classical entablature, or a modern look, we will design your entablature to perfectly match your building’s unique style . We have extensive knowledge of all the major classical orders, including Ionic, Doric, and Corinthian, and we can craft columns and entablatures that comply with each order’s specifications. DORIC a continuous sculpted frieze and a The oldest and simplest of these three cornice. CORNICE orders of classical Greek architecture, Its delicate beauty and rich ornamentation typified by heavy, fluted columns with contrast with the stark unembellished The cornice is the upper plain capitals and no base. features of the Doric order. part of an entablature; a decorative molded IONIC CORINTHIAN projection at the top of a This order, considered to be a feminine The most ornate of the three classical wall or window. style, is distinguished by tall slim orders, characterized by a slender fluted columns with flutes resting on molded column having an ornate, bell-shaped bases and crowned by capitals in the capital decorated with acanthus leaves. -
About a Type of Islamic Incense Burner 29
ABOUT A TYPE OF ISLAMIC INCENSE BURNER MEHMET AGA-OGLU NCENSE burners were no novel vessels produced to usheredinto a chamberand served a meal, after which the meet the specific needs of Islamic social life. The ori- incense burnerswere brought so that the guests could per- gin of thurification with various aromatic substances fume themselves before entering the caliph's presence.5 for magical, religious, or social occasions,and the devising The amount of aromatic substances,particularly aloes and of special vessels for the purpose,go far back to the histori- certain varieties of sandalwoods, used for thurification in cal beginnings of the Near Eastern peoples.1 Islam, al- the households of caliphs and dignitaries, must have been though in principle opposed to luxurious ways of life, did enormous. We are informed by al-Tabari, for example, not prevent the use of incense and perfumes. The popu- that Amr ibn al-Laith, the founder of the Saffarid dynasty larity of perfumes during the first centuries is best illus- of Eastern Iran, sent to Caliphal-Mu'tamid in the year 268 trated by the lengthy legistic opinions expressed in the (881/82) 200 minas of aloes wood which he had confis- Hadith literature,2and, among others, by a chapter in the cated from a grandson of Abu Dulaf.6 Among the proper- manual for elegant manners "of a man of polite education," ties left after his death in 301 (913), by Abu'l-Husayn written by Abu'l-Tayyib Muhammad ibn Ishaq al-Wash- Ali ibn Ahmad al-Rasibi, the 'Abbasid governor of Khu- sha.' zistan and neighboring territories,were great numbers of Historicalsources are extremely generous with accounts gold and silver vessels, perfumes, and other valuables, as on the subject.' A few examples can be cited here, and well as 4,420 mithkals of aloes wood for thurification.7 others will be presentedelsewhere. -
The Arch and Colonnade of the Manhattan Bridge Approach and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission November 25, 1975, Number 3 LP-0899 THE ARCH AND COLONNAD E OF THE MANHATTAN BRIDGE APPROACH, Manhattan Bridge Plaza at Canal Street, Borough of Manhattan. Built 1912-15; architects Carr~re & Hastings. Landmark Site: Borough o£Manhattan Tax Map Block 290, Lot 1 in part consisting of the land on which the described improvement is situated. On September 23, 1975, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Arch and Colonnade of the Manhattan Bridge Approach and the proposed designation of the related Landmark Site (Item No . 3). The hearing had been duly ad vertised in accordance with . the provisions of law. Two witnesses spoke in favor of designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS The Manhattan Bridge Approach, a monumental gateway to the bridge, occupies a gently sloping elliptical plaza bounded by Canal, Forsyth and Bayard Streets and the Bowery. Originally designed to accommodate the flow of traffic, it employed traditional forms of arch and colonnade in a monument al Beaux-Arts style gateway. The triumphal arch was modeled after the 17th-century Porte St. Denis in Paris and the colonnade was inspired by Bernini's monumental colonnade enframing St. Peter's Square in Rome. Carr~re &Hastings, whose designs for monumental civic architecture include the New York Public Library and Grand Army Plaza, in Manhattan, were the architects of the approaches to the Manhattan Bridge and designed both its Brooklyn and Manhattan approaches. The design of the Manhattan Bridge , the the third bridge to cross the East River, aroused a good deal of controversy. -
The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
The Dancing God and the Mind of Zeus in Nonnos' Dionysiaca
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Doron Simcha Tauber Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, and the Indo-European Linguistics and Philology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Tauber, Doron Simcha, "Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca" (2017). Senior Projects Spring 2017. 130. https://digitalcommons.bard.edu/senproj_s2017/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Οὐδε γέρων Ἀστραῖος ἀναίνετο The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Senior Project submitted to The Division of Languages and Literature of Bard College by Doron Simcha Tauber Annandale-on-Hudson, New York May 2017 For James, my Hymenaios Acknowledgements: Bill Mullen has been the captain of my errant ship, always strong on the rudder to keep my course on line. -
The Five Orders of Architecture
BY GìAGOMO F5ARe)ZZji OF 2o ^0 THE FIVE ORDERS OF AECHITECTURE BY GIACOMO BAROZZI OF TIGNOLA TRANSLATED BY TOMMASO JUGLARIS and WARREN LOCKE CorYRIGHT, 1889 GEHY CENTER UK^^i Digitized by the Internet Archive in 2013 http://archive.org/details/fiveordersofarchOOvign A SKETCH OF THE LIFE OF GIACOMO BAEOZZI OF TIGNOLA. Giacomo Barozzi was born on the 1st of October, 1507, in Vignola, near Modena, Italy. He was orphaned at an early age. His mother's family, seeing his talents, sent him to an art school in Bologna, where he distinguished himself in drawing and by the invention of a method of perspective. To perfect himself in his art he went to Eome, studying and measuring all the ancient monuments there. For this achievement he received the honors of the Academy of Architecture in Eome, then under the direction of Marcello Cervini, afterward Pope. In 1537 he went to France with Abbé Primaticcio, who was in the service of Francis I. Barozzi was presented to this magnificent monarch and received a commission to build a palace, which, however, on account of war, was not built. At this time he de- signed the plan and perspective of Fontainebleau castle, a room of which was decorated by Primaticcio. He also reproduced in metal, with his own hands, several antique statues. Called back to Bologna by Count Pepoli, president of St. Petronio, he was given charge of the construction of that cathedral until 1550. During this time he designed many GIACOMO BAROZZr OF VIGNOLA. 3 other buildings, among which we name the palace of Count Isolani in Minerbio, the porch and front of the custom house, and the completion of the locks of the canal to Bologna. -
Federal Building United States Courthouse in Youngstown, Ohio, Was Designed and Constructed Under the U
FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S. General Services Administration U.S. General Services Administration of the American people. Public Buildings Service Office of the Chief Architect Center for Design Excellence and the Arts October 2002 1800 F Street, NW Washington, DC 20405 2025011888 FEDERAL BUILDING UNITED STATES COURTHOUSE FEDERAL BUILDING UNITED STATES COURTHOUSE Youngstown, Ohio Youngstown, Ohio The Federal Building United States Courthouse in Youngstown, Ohio, was designed and constructed under the U.S. General Services Administration’s Design Excellence Program, an initiative to create and preserve a legacy of outstanding public buildings that will be used and enjoyed now and by future generations of Americans. Special thanks to the Honorable William T. Bodoh, Chief Bankruptcy Judge, U.S. District Court for the Northern District of Ohio, for his commitment and dedication to a building of outstanding quality that is a tribute to the role of the judiciary in our democratic society and worthy U.S. -
Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E
Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen E. Young A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor Francine Masiello, Co-chair Professor Michael Iarocci, Co-chair Professor Robert Kaufman Fall 2012 Abstract Baroque Poetics and the Logic of Hispanic Exceptionalism by Allen Young Doctor of Philosophy in Hispanic Languages and Literatures University of California, Berkeley Professors Francine Masiello and Michael Iarocci, Chairs In this dissertation I study the how the baroque is used to understand aesthetic modernity in twentieth-century Spain and Latin America. My argument is that the baroque, in contemporary Hispanic and Latin American studies, functions as a myth of cultural exceptionalism, letting critics recast avant-garde and postmodern innovation as fidelity to a timeless essence or identity. By viewing much contemporary Spanish-language as a return to a baroque tradition—and not in light of international trends—critics in effect justify Spain and Latin America’s exclusion from broader discussions of modern literature. Against this widespread view, I propose an alternative vision drawn from the work of Gerardo Diego, José Lezama Lima and Severo Sarduy. These authors see the baroque not as an ahistorical, fundamentally Hispanic sensibility located outside the modern, but as an active dialogue with the wider world. In very different ways, they use the baroque to place the Hispanic world decidedly inside global aesthetic modernity. In contrast to most contemporary scholarship on the topic, I do not take the baroque to be a predefined aesthetic practice, readily identifiable in seventeenth- or twentieth- century authors. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
Parthenon 1 Parthenon
Parthenon 1 Parthenon Parthenon Παρθενών (Greek) The Parthenon Location within Greece Athens central General information Type Greek Temple Architectural style Classical Location Athens, Greece Coordinates 37°58′12.9″N 23°43′20.89″E Current tenants Museum [1] [2] Construction started 447 BC [1] [2] Completed 432 BC Height 13.72 m (45.0 ft) Technical details Size 69.5 by 30.9 m (228 by 101 ft) Other dimensions Cella: 29.8 by 19.2 m (98 by 63 ft) Design and construction Owner Greek government Architect Iktinos, Kallikrates Other designers Phidias (sculptor) The Parthenon (Ancient Greek: Παρθενών) is a temple on the Athenian Acropolis, Greece, dedicated to the Greek goddess Athena, whom the people of Athens considered their patron. Its construction began in 447 BC and was completed in 438 BC, although decorations of the Parthenon continued until 432 BC. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered some of the high points of Greek art. The Parthenon is regarded as an Parthenon 2 enduring symbol of Ancient Greece and of Athenian democracy and one of the world's greatest cultural monuments. The Greek Ministry of Culture is currently carrying out a program of selective restoration and reconstruction to ensure the stability of the partially ruined structure.[3] The Parthenon itself replaced an older temple of Athena, which historians call the Pre-Parthenon or Older Parthenon, that was destroyed in the Persian invasion of 480 BC. Like most Greek temples, the Parthenon was used as a treasury. -
Paradoxes of Water
ISSUE ELEVEN : SUMMER 2018 OPEN RIVERS : RETHINKING WATER, PLACE & COMMUNITY PARADOXES OF WATER http://openrivers.umn.edu An interdisciplinary online journal rethinking the Mississippi from multiple perspectives within and beyond the academy. ISSN 2471- 190X ISSUE ELEVEN : SUMMER 2018 The cover image is of The Nile River, July 19 2004. To the right of the Nile is the Red Sea, with the finger of the Gulf of Suez on the left, and the Gulf of Aqaba on the right. In the upper right corner of the image are Israel and Palestine, left, and Jordan, right. Below Jordan is the northwestern corner of Saudi Arabia. Jacques Descloitres, MODIS Rapid Response Team, NASA/GSFC. Except where otherwise noted, this work is licensed under a Creative Commons Attribution-NonCom- mercial 4.0 International License. This means each author holds the copyright to her or his work, and grants all users the rights to: share (copy and/or redistribute the material in any medium or format) or adapt (remix, transform, and/or build upon the material) the article, as long as the original author and source is cited, and the use is for noncommercial purposes. Open Rivers: Rethinking Water, Place & Community is produced by the University of Minnesota Libraries Publishing and the University of Minnesota Institute for Advanced Study. Editors Editorial Board Editor: Jay Bell, Soil, Water, and Climate, University of Patrick Nunnally, Institute for Advanced Study, Minnesota University of Minnesota Tom Fisher, Metropolitan Design Center, Administrative Editor: University of Minnesota Phyllis Mauch Messenger, Institute for Advanced Study, University of Minnesota Lewis E. Gilbert, Institute on the Environment, University of Minnesota Assistant Editor: Laurie Moberg, Doctoral Candidate, Mark Gorman, Policy Analyst, Washington, D.C.