Venice: Jewel of the Adriatic
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Venice-Aerial-Tour
Venice and Veneto D E TAIL S Duration: 20-minutes flight Venice Aerial Tour Availability: Daily Price: € Additional guests: € Additional time: € Transfer: € CONTACT ME Agent Name Ph: Mob: Email: Rise above the terracotta roofs of Venice for a view of the mosaic- esque jungle of palazzi and cathedrals and islands dotted across the lagoon. Private tour 20-minutes flight English first Family friendly, Kids Itinerary Lido di Venezia Torcello Island Piazza San Marco Burano Island Arsenale South Murano island Arsenale North REASONS TO BOOK THIS EXPERIENCE What’s Included Hovering over the floating islands of Venice Private boat Expert guide Enjoying an aerial view of the Artisan demonstrations brightly colored palaces on Burano Entry tickets to the Torcello Cathedral Seeing the stunning Basilica di San Marco and Palazzo Ducale from above ITALY IS BEAUTIFUL LIKE NEVER BEFORE We cannot wait to welcome you to the most beautiful country in the world. In compliance with our Covid-free policy, we will provide full assistance and flexibility. We will also accept reservations and allow cancellations even if given at short notice. OUR RESERVATION AND CANCELLATION POLICY We accept reservations and allows cancellations with a 100% refund up to 48h. Please note this might not include entrance tickets booked in advance. Furthermore, you can reschedule for any time without any additional costs. USEFUL INFO Meeting point . You will receive a custom link once your booking is confirmed. Note should you require any further information, please don’t hesitate to contact us Agent Name Mob: Ph: Email:. -
The Toilet of Venus Circle of Veronese
THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations................................................................................................................................................... -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Boston Symphony Orchestra Concert Programs, Summer, 2009
SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D. -
Boston Symphony Orchestra Concert Programs, Summer
SUMMER 2009 BOSTON SYM ON Y ORCH E RA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY r ^ m I &£ V + i HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstenpalleries.com i photo: Icrcsa Nouri I O l \ e Broun and Coral Pink Persian Set They're Not Only Preparing ^ / for a Changing World They're Preparing to Change the World y M 1 what girls have in mind 'J'NZib-iS 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] V Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " 'Hot is the WOrdfor this show. —The New York T Museum of Fine Arts, Boston March 15- August 16, 2009 Tickets: 800-440-6975 or www.mfa.org BOSTON The exhibition is organized by the Museum The exhibition is PIONEER of Fine Arts, Boston and the Mus6e du fcUniCredit Group sponsored by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937. 1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 *f=^y Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. -
Rose Window Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia
6/19/2016 Rose window Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multipetalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral. -
Minima Medievalia
Fabio Coden (a cura di) MINIMA MEDIEVALIA Abstract - Twelve contributions are included in the fourth edition of Minima medievalia, focused on artistic episodes whose developments are rooted directly in Byzantine lands or in sites deeply infl uenced by their culture. A series of liturgical proto-byzantine structures – main and secondary altars – from Asia Minor are examined in close connection with the liturgical praxis adopted in those regions (Diego Peirano). Th e structural, documentary and critical features of the Baptistery of Santa Severina (Calabria) are analysed on the grounds of the unpublished reports of Paolo Orsi, a pioneer scholar of Southern Italy from Trento (Tancredi Bella). Th e iconography of a fabric fragment kept in Rome receives a new interpretation, thanks to clarifi cations that also help to clarify the chronology (Silvia Pedone). A conspicuous corpus of mostly unpublished or marginally known fragments of liturgical furnishings from Saint Mary in Torcello, is collected and rigorously analysed for the fi rst time, even in relation to the second presbytery fence, still present in the basilica (Diego Valenti). A reconstructive hypothesis is given for an extensively reworked capital from Grassaga, near San Donà di Piave, closely akin to the aforementioned objects as concern chronology and geographical location (Fabio Coden). Two essays concern a group of erroneously assessed or unpublished materials, stored in the deposit of the National Museum of Ravenna and in which the Eastern sources and the progressively predominant Latin style are intertwined (Paola Novara). Th e problematic ceramic basins embedded in the façade of the church of Madonna della Stra’ in Belfi ore, near Verona, are carefully explored in order to fi gure out the contacts between the Byzantine and the Islamic world in the Mediterranean and its consequences on the regions of the Peninsula (Marica Menon). -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
Titian's Later Mythologies Author(S): W
Titian's Later Mythologies Author(s): W. R. Rearick Source: Artibus et Historiae, Vol. 17, No. 33 (1996), pp. 23-67 Published by: IRSA s.c. Stable URL: http://www.jstor.org/stable/1483551 . Accessed: 18/09/2011 17:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae. http://www.jstor.org W.R. REARICK Titian'sLater Mythologies I Worship of Venus (Madrid,Museo del Prado) in 1518-1519 when the great Assunta (Venice, Frari)was complete and in place. This Seen together, Titian's two major cycles of paintingsof mytho- was followed directlyby the Andrians (Madrid,Museo del Prado), logical subjects stand apart as one of the most significantand sem- and, after an interval, by the Bacchus and Ariadne (London, inal creations of the ItalianRenaissance. And yet, neither his earli- National Gallery) of 1522-1523.4 The sumptuous sensuality and er cycle nor the later series is without lingering problems that dynamic pictorial energy of these pictures dominated Bellini's continue to cloud their image as projected -
Byzantine and Islamic Influences on the Art and Architecture of the Basilica Di San Marco in Venice
Lindenwood University Digital Commons@Lindenwood University Student Research Papers Research, Scholarship, and Resources Summer 7-2021 Byzantine and Islamic Influences on the Art and Architecture of the Basilica di San Marco in Venice Suzie Hanny Lindenwood University Follow this and additional works at: https://digitalcommons.lindenwood.edu/student-research-papers Part of the Classical Archaeology and Art History Commons Recommended Citation Hanny, Suzie, "Byzantine and Islamic Influences on the Art and Architecture of the Basilica di San Marco in Venice" (2021). Student Research Papers. 7. https://digitalcommons.lindenwood.edu/student-research-papers/7 This Research Paper is brought to you for free and open access by the Research, Scholarship, and Resources at Digital Commons@Lindenwood University. It has been accepted for inclusion in Student Research Papers by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Byzantine and Islamic Influences on the Art and Architecture of the Basilica di San Marco in Venice Suzie Hanny ARTH 55800: Medieval Art Instructor: Dr. James Hutson July 7, 2021 1 More than any other building in Venice, the Basilica di San Marco (figure 1) incorporates many Byzantine and Islamic architectural, artistic, and design elements. These stylistic elements were not only intended to glorify God but to promote the Venetian Republic’s political and religious ideologies. The Venetian Republic held the belief that it was divinely ordained to be the rulers of the Adriatic. It was no coincidence that the founding of Venice is said to have occurred on March 25th, the feast day of the Annunciation of the Virgin Mary. -
THE LAST JUDGMENT in CHRISTIAN ICONOGRAPHY Alison Morgan Public Lecture Given in the University of Cambridge, 1987
THE LAST JUDGMENT IN CHRISTIAN ICONOGRAPHY Alison Morgan Public lecture given in the University of Cambridge, 1987 I gave this lecture many years ago as part of my doctoral research into the iconography of Dante’s Divine Comedy, using slides to illustrate the subject matter. Thanks to digital technology it is now possible to create an illustrated version. The text remains in the original lecture form – in other words full references are not given. Illustrations are in the public domain, and acknowledged where appropriate; some are my own photographs. If I were giving this lecture today I would want to include material from eastern Europe which was not readily accessible at the time. But I hope this may serve by way of an introduction to the subject. Alison Morgan, September 2019 www.alisonmorgan.co.uk A. INTRODUCTION 1. Christian belief concerning the Last Judgment The subject of this lecture is the representation of the Last Judgment in Christian iconography. I would like therefore to begin by reminding you what it is that Christians believe about the Last Judgment. Throughout the centuries people have turned to the Gospel of Matthew as their main authority concerning the end of time. In chapter 25 Matthew records these words spoken by Jesus on the Mount of Olives: ‘When the Son of Man comes in his glory, and all the angels with him, then he will sit on the throne of his glory. All the nations will be gathered before him, and he will separate people one from another as a shepherd separates the sheep from the goats, and he will put the sheep at his right hand and the goats at the left.