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Name of Object: Apollo and Daphne Location: Rome, Italy Holding
Name of Object: Apollo and Daphne Location: Rome, Latium, Italy Holding Museum: Borghese Gallery Date of Object: 1622–1625 Artist(s) / Craftsperson(s): Gian Lorenzo Bernini (1598, Naples-1680, Rome) Museum Inventory Number: CV Material(s) / Technique(s): Marble Dimensions: h: 243 cm Provenance: Borghese Collection Type of object: Sculpture Description: This sculpture is considered one of the masterpieces in the history of art. Bernini began sculpting it in 1622 after he finished The Rape of Proserpina. He stopped working on it from 1623 to 1624 to sculpt David, before completing it in 1625. With notable technical accuracy, the natural agility of this work shows the astonishing moment when the nymph turns into a laurel tree. The artist uses his exceptional technical skill to turn the marble into roots, leaves and windswept hair. Psychological research, combined with typically Baroque expressiveness, renders the emotion of Daphnes terror, caught by the god in her desperate journey, still ignorant of her ongoing transformation. Apollo, thinking he has achieved his objective, is caught in the moment he becomes aware of the metamorphosis, before he is able to react, watching astonished as his victim turns into a laurel tree. For Apollos head, Bernini looked to Apollo Belvedere, which was in the Vatican at the time. The base includes two scrolls, the first containing the lines of the distich by Maffeo Barberini, a friend of Cardinal Scipione Borghese and future Pope Urban VIII. It explores the theme of vanitas in beauty and pleasure, rendered as a Christian moralisation of a profane theme. The second scroll was added in the mid-1700s. -
Kunstkammer Wien a Selection of Important
KUNSTKAMMER WIEN A SELECTION OF IMPORTANT OBJECTS „Krumau Madonna“ Prague (?), c. 1400 Sandstone, cloak originally white and blue, hair and edge of clothes gilt Provenance: acquired in 1913 for the Imperial Collections Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 10156 This sculpture was discovered around 1900 in Krumau in southern Bohemia. It is a perfect example of the „beautiful Madonnas“ so popular in the art around 1400. The Virgin with Child is shown as both the Queen of Heaven and a loving mother. Characteristics of courtly refinement, such as the rich and heavy drapery, idealised features and her gilt hair, are combined with verisimilitude, e.g. the body of the baby. This Gothic masterpiece is clearly informed by the art at the court in Prague. Salt Cellar (Saliera) Benvenuto Cellini (Florence 1500 – 1571 Florence) Paris, made between 1540 and 1543 Gold, partly enamelled; ebony, ivory, Provenience: from the Kunstkammer of Archduke Ferdinand II of Tirol at Ambras; presented to the Archduke by King Charles IX of France in 1570 Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 881 The only extant goldsmith work by the celebrated Renaissance artist, Benvenuto Cellini, perfectly reflects the refined taste of contemporary courtly society. We know it served as a container for the expensive spices, salt and pepper, but the complex pictorial programme culminates in an allegory of the cosmos (complete with the god of the ocean and the goddess of the earth, animals, the four winds and the four times of the day) dominated by the arms and emblems of the patron who commissioned it, Francois I of France (ruled 1515-1547). -
Mora Wade the RECEPTION of OPITZ's Ludith DURING the BAROQUE by Virtue of Its Status As the Second German Opera Libretto, Martin
Mora Wade THE RECEPTION OF OPITZ'S lUDITH DURING THE BAROQUE By virtue of its status as the second German opera libretto, Martin Opitz's ludith (1635), has received little critical attention in its own right. l ludith stands in the shadow of its predecessor, Da/ne (1627),2 also by Opitz, as weH as in that of a successor, Harsdörffer and Staden's See/ewig (1644), the first German-Ianguage opera to which the music is extant today.3 Both libretti by Opitz, Dafne and ludith, are the earliest examples of the reception of Italian opera into German-speaking lands.4 Da/ne was based on the opera ofthe 1. Martin Opitz: ludith. Breslau 1635. See also Kar! Goedeke: Grund risz zur Geschichte der deutschen Dichtung. Vol. III. Dresden 1886. p. 48. Aversion of this paper was given at the International Conference on the German Renaissance, Reformation, and Baroque held from 4-6 April 1986 at the University of Kansas, Lawrence. Support from the Newberry Library in Chicago and from the National Endowment for the Humani ties to use the Faber du Faur Collection at the Beinecke Library of Yale University enabled me to undertake and complete this project. A special thanks to Christa Sammons, curator of the German collection at the Beinecke, for providing me with a copy of ludith. 2. Martin Opitz: Dafne. Breslau 1627. 3. Georg Philipp Harsdörffer: Frauenzimmer Gesprächspiele. Vol. IV. Nürnberg 1644. Opitz's 'ludith' has only three acts and has no extant music. Löwenstern's music to Tscherning's expanded version of Opitz's 'ludith' was not published until 1646, a full two years after 'Seelewig'. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Adriaen De Vries
E DUVEEN BROTHERS Paris Library Class No. Stock No. ::::::::::::::::::::::: FROM THE LIBRARY OF { <=*Puveen d^fyroiliers, C^Jnc. 720 FIFTH AVE. NEW YORK O/o. /^l M BOUNQ BY S.Georoe Street, MANCHESTER S?W. BEITRÄGE ZUR KUNSTGESCHICHTE NEUE FOLGE. XXV. I ADRIAEN DE VRIES VON CONRAD BUCHWALD O MIT ACHT TAFELN O LEIPZIG VERLAG VON E. A. SEEMANN 1899. Dem Andenken MEINER MUTTER Digitized by the Internet Archive in 2014 https://archive.org/details/adriaendevriesOObuch Inhalt Seite I. Einleitung I II. Lehrzeit io III. In Augsburg 14 IV. In Diensten Rudolfs II 32 V. Arbeiten für den Fürsten Ernst von Schaumburg 63 VI. Die Brunnen für Fredriksborg und Danzig 74 VII. Aufträge Wallensteins 83 VIII. Schluss 92 IX. Verzeichnis von Werken des Adriaen de Vries 98 Anmerkungen 104 I Einleitung Ein glücklicher Fund war die Veranlassung zu vorliegender Arbeit. In der Kirche des Dorfes Rothsürben unweit Breslaus entdeckte ich zufällig ein gänzlich unbekanntes Werk des Adriaen de Vries. Adriaen de Vries hat keinen Namen in der Kunstgeschichte. Aeltere Nachrichten, die sich über ihn hier und da finden, sind dürftig, auch nicht frei von Widersprüchen und Fehlern. Karl van Mander erwähnt ihn kurz an einzelnen Stellen seines Schilder- buchs, Sandrart bringt zuerst eine Art von Biographie des Künstlers. Er giebt als dessen Geburtsort „Gravenhaag" an und erzählt, dass er „von der Natur selbst zum Bildhauer angetrieben sehr viele Lebens- grosse Bilder von Stein, Wachs und Erden gemacht, solche auch hernachmals in Metall gegossen und sich durch die stete Uebung mehr als kein anderer zu seiner Zeit in Ruhm gebracht, wie dieses seine sehr lobwürdige Werke erstlich in Italien allwo er die Antiken aufs genaueste ergründet an Tag legen, dann er in der Akademie zu Florenz immerzu der beste gewesen". -
Process: the Example of the Sleeping Hermaphrodite
BARRY X BALL: REMAKING SCULPTURE Process: The Example of the Sleeping Hermaphrodite Barry X Ball reinvents traditional sculptural formats and existing art historical landmarks using state-of-the-art 3D scanning technology, computer-aided design (CAD) software, and computer- numerically-controlled (CNC) milling machines, in combination with centuries-old craft techniques requiring thousands of hours of detailed handwork. The Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Louvre Museum in Paris offered an ideal starting point for Ball’s artistic explorations. Not only is the subject an embodiment of duality (see the object label and exhibition catalogue for more information on this), the object is a composite work of art interpreted by numerous authors over centuries. The figure is a second-century CE Roman copy of a second-century BCE Greek original. Discovered near the Baths of Diocletian in Rome in 1608, it joined the distinguished collection of Cardinal Scipione Borghese, who, in 1619, commissioned the young Gian Lorenzo Bernini to carve the mattress for it and David Larique to restore the figure. Ball continues this engagement with the work in the 21st century, reconsidering it for a contemporary audience and using the technological tools at his disposal. The illustrated review that follows elucidates the multi-step process Ball undertakes in making his Masterworks, like Sleeping Hermaphrodite. Ball works with museums to make extremely high-resolution three-dimensional digital scans of works of art. Because of their microscopic detail, the scans are very useful to the institutions charged with preserving the sculpture. Ball donates the scans to the museums for documentation and conservation and uses them Digital scanning of Hermaphrodite Endormi (Sleeping Hermaphrodite) in the Salle des Caryatids, as his point of departure for creating a new work. -
Histories of Heinrich Schu¨ Tz
Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Frontmatter More information HISTORIES OF HEINRICH SCHU¨ TZ Bettina Varwig places the music of the celebrated Dresden composer Heinrich Schu¨tz in a richly detailed tapestry of cultural, political, religious and intellectual contexts. Four key events in Schu¨tz’s career – the 1617 Reformation centenary, the performance of his Dafne in 1627, the 1636 funeral composition Musicalische Exequien, and the publication of his motet collection Geistliche Chor-Music (1648) – are used to explore his music’s resonances with broader historical themes, including the effects of the Thirty Years War, contemporary meanings of classical mythology, Lutheran attitudes to death and the afterlife, as well as shifting conceptions of time and history in light of early modern scientific advances. These original seventeenth-century circumstances are treated in counter- point with Schu¨tz’s fascinating later reinvention in nineteenth- and twentieth-century German musical culture, providing a new kind of musicological writing that interweaves layers of historical inquiry from the seventeenth century to the present day. bettina varwig is a music historian with wide-ranging interests in early modern European culture. She has held fellowships at Magdalen College, Oxford, and the University of Cambridge, and is now a lecturer at King’s College London. She has published widely on the music of Heinrich Schu¨tz and J. S. Bach. This is her first book. © in this web service Cambridge -
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer. -
The Distinctiveness of Bohemian Baroque: a Study in the Architecture of Central Europe, C.1680-C.1720
artificialhorizon.org The distinctiveness of Bohemian baroque: a study in the architecture of Central Europe, c.1680-c.1720 RALPH HARRINGTON Between the late seventeenth century and the first years of the eighteenth the architecture of Bohemia underwent a marked transformation as the Italian influences that had been dominant until around 1690 gave way before Southern German and Austrian influences. In 1680 there were 28 architects of Italian origin working in Prague, compared with seven recorded as coming from northern Europe.1 The rapidity with which German influence displaced Italian can be gauged from the fact that by the later 1690s the proportions were reversed, largely as a result of the great immigration of architects, particularly from southern Germany, which took place from 1690 to 1700. This influx of talent ensured that, despite long-established Italian architectural dominance, the great flowering of the Austrian baroque which took place in the 1680s had rapid repercussions in Bohemia, where its influence interacted with local influences to produce a style of architecture altogether distinct from that prevalent in Austria itself. The first phase of the Austrian baroque had itself been dependent on Italian artists, and a large number of architects, sculptors and decorators originating in Italy made vital contributions to the development of the style known as ‘Imperial Baroque’. This Austrian imperial architectural style, dynamic in its manipulation of volumes and planes, grandiloquent in detail but massively authoritarian in overall character, had reached its fullest expression around 1700, finding its greatest exponents in two Italian-trained native architects, Johann Fischer von Erlach (1656- 1723) and Lucas von Hildebrandt (1688-1745). -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The Artful Hermit. Cardinal Odoardo Farnese's religious patronage and the spiritual maening of landsacpe around 1600 Witte, A.A. Publication date 2004 Link to publication Citation for published version (APA): Witte, A. A. (2004). The Artful Hermit. Cardinal Odoardo Farnese's religious patronage and the spiritual maening of landsacpe around 1600. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 3.. PATRONAGE, PROTECTORATE AND REGULAR REFORMS Orazionee e Morte Thee name of the brotherhood of Santa Maria dell'Orazione e Morte. from which Farnese rented thee Camerino degli i:remiti in !61 ! alluded to its two aims: orazione indicated the act of prayer, andd morte referred to burying the dead.