El Greco, a Mediator of Modern Painting
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My Mannerism: Inspiration with El Greco
Fitzgerald 1 My Mannerism: Inspiration with El Greco XXXXXXXXXXXX ART 307A March 20, 2013 Art History Lesson Plan My Mannerism Fitzgerald 1 Art History Plan Lesson History Art 3 IA. Curriculum Frameworks: Which MA Curriculum Frameworks connect to your goals? 3 IB. Generative Topic: What is the focal concept or skill of the lesson? 3 IC. Measurable Objectives: What do you want students to know and be able to do? 3 ID. End of lesson Assessment: How are you going to assess ART student’s understanding? 2 IIA. Content and Skills: What do you know about what you PLAN LESSON are planning to teach? 3 IIB. Rationale: Why teach the lesson? 3 My Mannerism My III. Knowledge of Students: Why does knowing your students matter? 3 IV. Materials: What materials, resources, and technology will #2 you need? RUBRIC RATINGS RUBRIC 3 VA. Beginning of the Lesson: How will you immediately engage all of your students in the content? VB. Middle of Lesson: What are your students actively 3 DOING (e.g., speaking, writing, drawing, performing, documenting, observing) to explore the content? VC. Extension and Enrichment Activities During Class Time: 3 How will you actively extend the learning of students who finish tasks early? 3 VD. End of Lesson: How will you help all students actively Fitzgerald Fitzgerald process the experience? 3 VIA. Reflection: Looking at Student Performance Fitzgerald Fitzgerald 3 VIB. Reflection: Looking at teaching 2 2 Fitzgerald 3 My Mannerism: Inspiration with El Greco Grade Level: 4th Number of Classes: 3 Each 45 Minutes in Length Lesson Content Rationale: This lesson is to teach students about the artist El Greco and characteristics of the style of Mannerism. -
Quidditas 23 (2002)
QUIDDITAS Journal of the Rocky Mountain Medieval and Renaissance Association v olume 23 2002 ii QUIDDITAS 23 (2002) EDITORS Editor: Sharon A. Beehler, Montana State University Associate Editor: Eugene R. Cunnar, New Mexico State University Associate Editor: Margaret Harp, University of Nevada, Las Vegas Associate Editor: Harry Rosenberg, Colorado State University Book Review Editor: Lowell Gallagher, UCLA Associate Editor/Production: Kathryn Brammall, Truman State University MEMBERS OF THE EXECUTIVE COUNCIL AND EDITORIAL ADVISORY BOARD Susan Aronstein, University of Wyoming Sylvia Bowerbank, McMasters University (through 2003) Allen D. Breck, University of Denver (ex-officio) Jean R. Brink, Arizona State University (ex-officio) Stan Benfell, Brigham Young University (through 2004) Eugene R. Cunnar, New Mexico State University (ex-officio) Paul A. Dietrich, University of Montana (ex-officio) Thomas R. Eckenrode, Fort Lewis College (ex-officio) James Fitzmaurice, Northern Arizona University (ex-officio) Lowell Gallagher, UCLA (through 2000) Phebe Jensen, Utah State University (through 2001) Jean MacIntyre, University of Alberta (through 1999) Isabel Moreira, University of Utah (through 2001) Carol Neel, Colorado College (ex-officio) Glenn Olson, University of Utah (ex-officio) Joseph Perry, Brigham Young University (through 2004) Harry Rosenberg, Colorado State University (ex-officio) Charles Smith, State University of Colorado (ex-officio) Sara Jayne Steen, Montana State University (ex-officio) Jesse Swan, University of Northern Iowa (through 2004) Paul Thomas, Brigham Young University (through 2003) Michael Walton, University of Utah (through 1999) Charles Whitney, University of Nevada, Las Vegas (through 2003) Elspeth Whitney, University of Nevada, Las Vegas (through 2003) Jane Woodruff, William Jewell College (through 2004) © Copyright 2002 by The Rocky Mountain Medieval and Renaissance Association. -
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ of IΞJL GRIΞCO and ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ Of IΞJL GRIΞCO AND ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175 by Nicos Hadjinicolaou In memoryof Stella Panagopoulos, whose presence at the lecture gave me great pleasure The organization of a series of lectures in honour of a distinguished l art critic could bring the invited art historians in the delicate or uncomfortable position of defining the limits proper to art criticism and art history, thus reviving a rather sterile paragon of the 20th century. If, in the debate about the primacy of sculpture or of painting, Vasari (out of conviction it seems and not for reasons of tactics) declared that the controversy was futile because both arts were equally based οη "d isegno", Ι am afraid that tod ay a similar proposition to remove the object of dissent between art criticism and art history by claiming tha.t both were equally based οη "artistic theory" would, unfortunately, be rejected as being tόta11y out of place. Reconciliation being, at least for the moment, impossible, an art historian might be allowed to stress what in his eyes is one of the advantages of art criticism over art history: that it takes a stand, that it takes risks, that it measures the relevance of a work for the present and for the immediate future. It goes without saying that an art critic also jud ges a contemporary work under the burden of his or her knowledge of the art of the past and of the literature written ab out it. Υ et, this does not change the fundamental fact that the appreciation of the work and the value judgements about its assumed "quality" or "validity as a statement" are elements insid e a perspective looking towards the future and not towards the past. -
The Grotesque in El Greco
Konstvetenskapliga institutionen THE GROTESQUE IN EL GRECO BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME © Författare: Lena Beckman Påbyggnadskurs (C) i konstvetenskap Höstterminen 2019 Handledare: Johan Eriksson ABSTRACT Institution/Ämne Uppsala Universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Lena Beckman Titel och Undertitel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Engelsk titel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Handledare Johan Eriksson Ventileringstermin: Hösttermin (år) Vårtermin (år) Sommartermin (år) 2019 2019 Content: This study attempts to investigate the grotesque in four paintings of the artist Domenikos Theotokopoulos or El Greco as he is most commonly called. The concept of the grotesque originated from the finding of Domus Aurea in the 1480s. These grottoes had once been part of Nero’s palace, and the images and paintings that were found on its walls were to result in a break with the formal and naturalistic ideals of the Quattrocento and the mid-renaissance. By the end of the Cinquecento, artists were working in the mannerist style that had developed from these new ideas of innovativeness, where excess and artificiality were praised, and artists like El Greco worked from the standpoint of creating art that were more perfect than perfect. The grotesque became an end to reach this goal. While Mannerism is a style, the grotesque is rather an effect of the ‘fantastic’.By searching for common denominators from earlier and contemporary studies of the grotesque, and by investigating the grotesque origin and its development through history, I have summarized the grotesque concept into three categories: between form, beyond language and beside the sublime. -
Music As an Angelic Message in El Greco's Oeuvre
Music as an angelic message in El Greco’s oeuvre Estelle Alma Maré Department of Architecture, Tshwane University of Technology, Pretoria E-mail: [email protected] Angels are assumed to represent messengers from God and in Christian art they are traditionally de- picted as winged human beings. In the visual arts all figures are mute; therefore angel music as the divine message relayed to the viewer needs to be interpreted as a form of visual gestural rhetoric with an imaginary auditive reference. In order to treat this theme, the article is introduced by a general discussion of the representation of angels in El Greco=s oeuvre, followed by a brief orientation to the theme of angel musicians in Medieval and Renaissance art. An analysis of El Greco=s paintings that include heavenly musicians reveal that the interaction between heaven and earth becomes continuous, eliminating the contrast between these zones that was postulated by Aristotle. Even though only a lim- ited number of El Greco=s paintings include angel musicians, their active presence in some of his most imaginative compositions illustrate the way in which he evolved an unique iconographical convention related to the theme of these consorts, and his innovative expansion of the meaning of the being and missions of angels. Keywords: El Greco, angel consort, harmony of the spheres, musical instruments Musiek as =n engel-boodskap in El Greco se oeuvre Dit word veronderstel dat engele boodskappers van God is en in Christelike kuns word hulle tradi- sioneel as gevlerkte mensfigure voorgestel. In die visuele kunste is alle figure stom; dus moet en- gel-musiek as die goddelike boodskap wat aan die aanskouer oorgedra word, as =n vorm van visuele gebare-retorika met =n denkbeeldige ouditiewe verwysing geïnterpreteer word. -
El Greco at the Ophthalmologist's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Predella journal of visual arts, n°35, 2014 - Miscellanea / Miscellany www.predella.it / predella.cfs.unipi.it Direzione scienti" ca e proprieta ̀ / Scholarly Editors-in-Chief and owners: Gerardo de Simone , Emanuele Pellegrini - [email protected] Predella pubblica ogni anno due numeri online e due numeri monogra" ci a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review Comitato scienti" co / Editorial Advisory Board : Diane Bodart, Maria Luisa Catoni, Michele Dantini, Annamaria Ducci, Fabio Marcelli, Linda Pisani, Riccardo Venturi Cura redazionale e impaginazione / Editing & Layout: Paolo di Simone Predella journal of visual arts - ISSN 1827-8655 pubblicato nel mese di Ottobre 2015 / published in the month of October 2015 Andrea Pinotti El Greco at the Ophthalmologist’s The paper aims at reconstructing the centennial history of the so-called “El Greco fallacy”, namely the hy- pothesis that the extremely elongated gures painted by the Cretan artist were due to his astigmatism and not to a stylistic option intentionally assumed by the painter. This hypothesis interestingly and prob- lematically intertwines the status of the perceptual image with the status of the represented picture. While o ering a survey of the main positions defended by ophthalmologists, psychologists, art critics and art historians on this optical issue, the essay tries to reject the false alternative between a physiologistic and a spiritualistic approach to art, both based on an unsustainable causalistic assumption. -
Masters in Art : a Series of Illustrated Monographs
JULY, 1908 EL GRECO PRICE, 20 CENTS IftpStajHitflrt |^M|k EL GRECO PART 103'- VOLUME 9 JJateHflDGuildQompany, Kublteljerg 42<$aunit$tRrt MASTERS I N ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 103 JULY VOLUME 9 351 <£r CONTENTS Plate I. The Annunciation Owned by Durand-Ruel Plate II. Portrait du Cardinal Tavera Museum, Toledo Plate III. The Assumption Art Institute, Chicago Plate IV. Portrait of Cardinal Sforza Pallavicino Art Museum, Boston Plate V. The Nativity Plate VI. St. Basil Prado Museum, Madrid Plate VII. Portrait of a Physician Prado Museum, Madrid Plate VIII. Portrait of Cardinal Don Fernando Nino de Guevara Private Collection Plate IX. Head of a Man Prado Museum, Madrid Plate X. Christ Dead in the Arms of God Prado Museum, Madrid The Life of El Greco Page 23 The Art of El Greco Page 28 Criticisms by Justi, Stirling-Max well, Muther, Ricketts, Lafond and Geffroy The Works of El Greco: Descriptions of the Plates and a List of Paintings Page 38 El Greco Bibliography Page 42 Photo-engravings by Suffolk Engraving and Electrotyping Co.: Boston. Press-work by the Everett Press: Boston. A complete index for previous numbers will be found in the Reader's Guide to Periodical Literature, which may be consulted in any library. PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the current calendar year, $2.00, payable in advance, postpaid to any address in the United States. To Canada, $2.25 ; to foreign countries in the Pos¬ tal Union, $2.50. As each yearly volume of the magazine commences with the January number, and as indexes and bindings are prepared for complete volumes, intending subscribers are advised to date their subscriptions from Jan¬ uary. -
Nawoord Summary Bibliografie Herkomst Afbeeldingen
VU Research Portal Het huis en de regels van het denken de Mare, H. 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) de Mare, H. (2003). Het huis en de regels van het denken: Een cultuurhistorisch onderzoek naar het werk van Simon Stevin, Jacob Cats en Pieter de Hoogh. General rights 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 ? 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. E-mail address: [email protected] Download date: 02. Oct. 2021 NAWOORD Nawoord Dichterbijhuis:overhetnutvancultuurhistorischesensibiliteit ‘Wanneermentegenoveruonsvakalsluxe-vakbetitelt,ishetaanutetoonen,dateen samenlevingmoeilijkgevaarlijkerkandolen,danwanneerzijdenwegtothaareigenkunstwerken heeftverlorenendathetbehoedendierwerkenenhetvrijhoudenvandatpadeenculturelearbeid isvanhetgrootstebelang.’H.vandeWaal, -
BRADLEY WALKER TOMLIN 1899 - 1953 Paintings
Baruch College The City University of New York 17 Lexington Avenue New York, New York 10010 BRADLEY WALKER TOMLIN 1899 - 1953 Paintings January 30 to Mar ch 3, 1989 Baruch College Gallery 135 East 22 Street, New York, New Yo r k 1001 0 Acknowledgments It is an honor for the Baruch College Gallery to present a group of Bradley Walker Tomlin's magnificent paintings. The exhibition could not have been organized without the expertise and assistance of guest curator Jeanne Chenault Porter and the advice of Jack Tilton. For their special efforts we t hank Sandy Summer, Miriam Allen, and Lenora Rock. Above all, we are grateful to the museums and collectors who generously lent their paintings. Katherine B. Crum Director Baruch College Gallery Introduction In 1989, with its figurative painting and appropriated imagery, this exhibition might appropriately be given the subtitle "Looking Back at the Av ant-Garde." The famousAbstract Expressionists who comprised the New York School of the late 1940s and 1950s are now our Old Masters. The group was never artistically homogenous but, in the words of Barnett Newman, consisted of "a collection of individual voices." For many New Yorkers Bradley Walker Tomlin's name may bring to mind the huge monochromatic painting Number 20, (1949) which is perpetually on display at the Museum of Modern Art. The work is a masterpiece despite its restrained palette, which is exceptional and seemingly out of character. For like Philip Guston, who dedicated a painting to him in 1952, Tomlin was a colorist. Guston remembered above all "how Tomlin could take an old yellow and a dirty white and make them sing." Nevertheless, out of an apparent desire to be involved in the experimentation carried out by t he painters of the New York School, he occasiona lly purged his paintings of all but black and white during the late 1940s, as 'seen in Tension by Moonlight of 1948. -
Downloaded Or to Consider How Many of These Themes Continue to Be of Importance in Projected for Classroom Use
A Guide to the Exhibition for Teachers SPANISH PAINTING FROM EL GRECO TO PICASSO : TIME, TRUTH, AND HISTORY TABLE OF CONTENTS 4 A Note to Teachers 5 Exhibition Overview 6 Historical Overview 9 Bodegones 13 Landscape of Fire 17 Blood and Sand 21 The Domestic World 25 Weeping Women 29 Virgins and Mothers 33 Childhood 37 Knights and Ghosts 41 Ladies 45 Vocabulary 46 Chronological Listing of Artists in the Exhibition 50 Bibliography and Suggested Reading List 51 Credits and Acknowledgments A NOTE TO TEACHERS This guide for educators, which accompanies the exhibition Spanish Painting The content and design of these materials have a threefold purpose: from El Greco to Picasso: Time, Truth, and History , provides a glimpse into • To assist educators in developing a classroom unit focusing on Spanish painting the important themes and changing character of Spanish painting through the centuries as well as suggestions for how to integrate this rich history of aesthetic • To provide educators with the tools to conduct a self-guided museum visit innovation into the classroom. The presentation of works thematically (rather • To help educators prepare students for, and expand upon, themes and ideas than the more typical chronological arrangement) provides the opportunity to generated during their museum visit compare and contrast how artists from the same country, in various historical epochs, have dealt with similar subject matter. This guide concentrates on the This guide will be most useful in conjunction with a trip to the museum, exhibition themes most relevant to K–12 curriculum and provides examples of but can remain a valuable resource long after the exhibition has closed. -
On " Mannerism " Or Logos Stabbed
ON " MANNERISM " OR LOGOS STABBED By JOICHIRO KAWAMURA* I. Enigmatic Painting The reddish bare land gently undulates dotted with the warm, rather dull green of orchards, descending to a hilly town covered by the monochromatic bluish grey of buildings. Now suppose a graceful boy stood in the middle of the hill where you can command a view of the whole town with the stream of the Tajo at a long distance to the left. The boy spreads his arms holding out a bird's-eye-view of the town which is seen lying easily far below his feet. Well, if we are to draw a bird's-eye-view picture of the whole landscape on a canvas, it will be a rare invention for us to depict in the foreground the pale, melan- cholic boy and the bird's-eye-view he holds out with his effeminate hands as one of the "things" constituent of the whole landscape. In the bird's-eye-view held by the boy-in- the-picture, still another bird's-eye-view of the same landscape including the boy holding out a fourth bird's-eye-view is to be drawn. In that last (not final) bird's-eye-view, another, that is a fifth, bird's-eye-view of the town is to be drawn, where, in its turn, the boy with his sixth view is to be depicted. Thus one picture of the town repeats itself endlessly. This painting, Iike two mirrors placed face to face reflecting and infinitely multiplying their transparent images, implies an obscure Existence (or Non-Existence) that encloses the entire town of Toledo and takes it away beyond the blue heavens. -
LOCATING El GRECO in LATE SIXTEENTH-CENTURY
View metadata, citation and similarbroughtCORE papers to you at by core.ac.uk provided by Online Repository of Birkbeck Institutional Theses LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. I contend, moreover, that Domenicos’ acquaintance with Cardinal Alessandro Farnese’s librarian, Fulvio Orsini, was seminal for the artist, not only because it brought him into closer contact with Rome’s most refined circles, but principally because it helped Domenicos to assume the persona of ‘pictor doctus’, the learned artist, following the example of another of Fulvio’s friends, Pirro Ligorio.