EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
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Setting up the Palette by Carole Greene
Setting Up the Palette by Carole Greene De Anza College Cupertino, California Manuscript Preparation: D’Artagnan Greene Cover Photo: Hotel Johannes Vermeer Restaurant, Delft, Holland © 2002 by Bill Greene ii Copyright © 2002 by Carole Greene ISBN X-XXXX-XXXX-X All rights reserved. No part of this book may be reproduced in any form whatsoever, by photography or xerography or by any other means, by broadcast or transmission, by translation into any kind of language, nor by recording electronically or otherwise, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in critical articles or reviews. Printed in the United States of America. X X X X X X X X X X Address orders to: XXXXXXXXXXX 1111 XXXX XX XXXXXX, XX 00000-0000 Telephone 000-000-0000 Fax 000-000-0000 XXXXX Publishing XXXXXXXXXXXXXXXXXXXXXXXX iii TABLE OF CONTENTS FOREWORD ix CHAPTER 1- Mastering the Tools 1 An Overview 3 The Clause 15 The Simple Sentence 17 The Verb Check 21 Items in a Series 23 Inverted Clauses and Questions 29 Analyzing a Question 33 Exercise 1: Locate Subjects and Verbs in Questions 35 Exercise 2: Locate Verbs in Simple Sentences 37 Exercise 3: Locate Subjects in Simple Sentences 47 Exercise 4: Locate Subjects and Verbs in Simple Sentences 55 iv The Need to Change Reading Habits 69 The Phrase 71 A Phrase Versus a Clause 73 Prepositional Phrases 75 Common Single Word Prepositions 77 Group Prepositions 78 Developing a Memory System 79 Memory Facts 81 Analyzing the Function of Prepositional Phrases 83 Exercise 5: Locating -
Han Van Meegeren and His Portraits of Theo Van Der Pas and Jopie Breemer
HAN VAN MEEGEREN AND HIS PORTRAITS OF THEO VAN DER PAS AND JOPIE BREEMER “De wereld zou beter zijn als alle mensen hun eigen ritme verstonden en het in harmonie konden brengen met dat van anderen, bij de muziek die van de hemel komt.” De wereld een dansfeest , Arthur van Schendel (The world would be better if everyone understood their own rhythm and in harmony could bring with that of others to the music of heaven. The World is a Festival of Dance , Arthur van Schendel)* Ever since my Schubert Iconography was published I continued to find more Schubert images heretofore unknown to me 1. After the article’s publication I donated all my Schubert iconography research files to the City University of New York Research Center for Music Iconography, and sent newly discovered images to the RCMI to add to the research inventory. From time to time I discover interesting Schubert images, often not compelling for the quality of their art but interesting regarding the curious historical circumstances surrounding the artist who created the image. I have long been an admirer of Vermeer, and in January 2009 I bought Benjamin Binstock’s Vermeer’s Family Secrets .2 I began to read the author’s discussion of the clever and talented Dutch art forger Han (Henricus Antonius) van Meegeren (1889-1947), best known for his Vermeer forgeries. Like most people interested in art I had heard about this duplicitous artist and his incredible success at fooling the Vermeer experts, but I had never seen any examples of Van Meegeren’s own original artwork signed with his own name. -
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Contemporary Chinese Art
FRICK FINE ARTS LIBRARY ART HISTORY: CONTEMPORARY CHINESE ART Library Guide Series, No. 44 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* This bibliography is highly selective and is meant only as a starting place to aid the beginning art history student in his/her search for library material. The serious student will find other relevant sources by noting citations within the encyclopedias, books, journal articles, and other sources listed below in addition to searching Pitt Cat, the ULS online catalog. IMPORTANT: For scholars who read Chinese, please note that the resources on this library guide are primarily in Western languages. Chinese language materials can be searched in Pitt Cat Classic using Pinyin. Reference assistance with Chinese language materials is available at the East Asian Library on the 2nd floor of Hillman Library. Before Beginning Research FFAL Hours: M-H, 9-9; F, 9-5; Sa-Su, Noon - 5 Policies Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facility or has not yet been cataloged at no charge by using the “Get It” Icon in Pitt Cat Plus. Items that are not in the Pitt library system may also be requested from another library that owns them via the same icon in the online catalog. There is a $5.00 feel for photocopying journal articles (unless they are sent to the student via email). Requesting books from another library is free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). -
Geoforum 46 (2013) 16–24
Geoforum 46 (2013) 16–24 Contents lists available at SciVerse ScienceDirect Geoforum journal homepage: www.elsevier.com/locate/geoforum Making things irreversible. Object stabilization in urban planning and design ⇑ Martijn Duineveld a, , Kristof Van Assche b,c, Raoul Beunen d a Cultural Geography Group, P.O. Box 47, 6700 AA Wageningen, The Netherlands b Communication & Innovation Studies, Wageningen University, The Netherlands c ZEF/Center for Development Research, Bonn University, Germany d Land Use Planning Group, Wageningen University, P.O. Box 47, 6700 AA Wageningen, The Netherlands article info abstract Article history: Based on a detailed reconstruction of the planning process of a controversial major building in the Dutch Received 6 July 2011 city of Groningen, we develop a theoretical and conceptual framework for studying object formation and Received in revised form 26 November 2012 stabilisation. We argue that the many forms of resistance against the object itself triggered a variety of Available online 11 January 2013 counter-strategies of object formation. We make a distinction between sites, paths and techniques of object formation. To study object formation in more detail we distinguish three techniques: reification, Keywords: solidification and codification. The techniques of object formation are accompanied by three techniques Object formation that produce a relative stability of the object, that increases its irreversibility, the likelihood of object sur- Foucault vival: objectification, naturalisation and institutionalisation. We conclude that complete irreversibility is Actor-Network Theory Governance an illusion in governance and planning processes. Civil resistance Ó 2012 Elsevier Ltd. All rights reserved. Urban planning Irreversibility 1. Introduction the intention of the local government has been to redesign the eastern side of this square (Gemeente Groningen, 2009; Duineveld, According to Nigel Thrift the spatial turn in Geography ‘has 2011). -
Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2-24-2014 Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 David Beeler University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the History Commons Scholar Commons Citation Beeler, David, "Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/4983 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Sobering Anxieties: Alcohol, Tobacco, and the Intoxicated Social Body in Dutch Painting During the True Freedom, 1650-1672 by David Beeler A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Annette Cozzi, Ph.D. Cornelis “Kees” Boterbloem, Ph.D. Brendan Cook, Ph.D. Date of Approval: February 24, 2014 Keywords: colonialism, foreign, otherness, maidservant, Burgher, mercenary Copyright © 2014, David Beeler Table of Contents List of Figures .................................................................................................................................ii -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Studia Litteraria Universitatis Iagellonicae Cracoviensis 10 (2015), z. 2, s. 131–151 doi: 10.4467/20843933ST.15.012.4103 www.ejournals.eu/Studia-Litteraria MAREK KUCHARSKI Uniwersytet Jagielloński w Krakowie e-mail: [email protected] Intertextual and Intermedial Relationships: Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century Abstract The aim of the article is to analyse the intertextual and intermedial relationships between Tulip Fever, a novel by Deborah Moggach, The Bitter Smell of Tulips, an essay by Zbigniew Herbert from the collection Still Life with a Bridle, with some selected examples of Dutch paintings of the seventeenth century. As Moggach does not confi ne herself only to the aforementioned essay by Herbert, I will also refer to other essays from the volume as well as to the essay Mistrz z Delft which comes from the collection of the same title. Keywords: Deborah Moggach, Zbigniew Herbert, novel, essay, Dutch paintings, intertextuality, intermediality. Zbigniew Herbert’s essay The Bitter Smell of Tulips comes from the collection Still Life with a Bridle which is a part of the trilogy that, apart from the afore- mentioned collection of essays, consists of two other volumes: Labyrinth on the Sea and Barbarian in the Garden. In each of the volumes, in the form of a very personal account of his travels, Herbert spins a yarn of European culture and civi- lization. Labyrinth on the Sea focuses on the history and culture of ancient Greece and Rome whereas in Barbarian in the Garden Herbert draws on the whole spec- trum of subjects ranging from the prehistoric paintings on the walls of the cave in Lascaux, through the Gothic cathedrals and Renaissance masterpieces, to the stories about the Albigensians and the persecution of the Knights of the Templar Order. -
The Meanings of Rembrandt
Gary Schwartz The Meanings of Rembrandt On Friday, 27 October 1797 the National Council of the Batavian Republic (1795–1801), the successor to the Republic of the Seven United Provinces (1581– 1795), voted to accept a present offered to it by the Brabant printmaker Lambertus Antonius Claessens (1763–1834). “The first proof of a labor of three years, being an engraving depicting The Night Watch, un- dertaken in order to make the masterpiece of Rem- brandt, that outstanding painter of the fatherland, better and better known to the Batavian people and other art-loving nations” (figs. 1–2).1 The Council Opposite side: accepted the gift and ordered the maintenance com- Rembrandt Harmensz. mittee to find an appropriate place to hang the work. van Rijn This event had multiple meanings for Rem- Portrait of the Artist brandt’s posterity. Until now his civic guard portrait as Saint Paul (detail), of the company of Frans Banning Cocq had been one 1661 of the six paintings commissioned in the late 1630s for Rijksmuseum, the new hall of the Kloveniers (the musketeers and cepting and acknowledging Claessens’s compliment Amsterdam pikesmen), which since 1715 had hung together in the to the artist as a potent if undervalued representative town hall on Dam Square. Now it was singled out on of Dutch artistic culture in the world at large. Fig. 1 (to the right) its own as an immortal masterpiece, with the nick- The apotheosis had been in the making for thir- From the resolutions name by which it was here called for the first time, the ty years in select circles since the publication in 1767 of the National Council Night Watch. -
The R U T G E R S a R T R E V I E W Published Annually by the Students
The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers, The State University of New Jersey 1991-1992 Volume XII-XI1I Co-Editors, Volume 12: Scott Montgomery Elizabeth Vogel Editorial Board, Volume 12: Marguerite Barrett Arnold Victor Coonin David Foster Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 12: Professor Matthew Baigell Editor, Volume 13: Marguerite Barrett Editorial Board, Volume 13: Shelly Adams Sheilagh Casey Arnold Victor Coonin Pamela Cohen Joanna Gardner Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 13: Archer St Clair Harvey Consulting Editors Volume 12 and 13: Caroline Goeser Priscilla Schwarz Advisory Board, Volume 12 and 13: Patricia Fortini Brown, Princeton University Phillip Dennis Cate, Jane Voorhees Zimmerli Museum Joseph Connors, American Academy in Rome Patricia Leighten, University of Delaware Constance Lowenthal, International Foundation for Art Research David G. Wilkins, University of Pittsburgh Benefactors ($1,000 or more) The Graduate School, Rutgers, The State University of New Jersey The Graduate Student Association, Rutgers, The State University of New Jersey The Johnson and Johnson Family of Companies Contributors ($100 or more) Rona Goffen Supporters ($50 or more) Shelly Adams and Edgar Morales Matthew and Ren6e Baigell Catherine Puglisi and William Barcham Daniel and Patricia Sheerin Friends ($25 or more) Charles L. Barrett III M. B. Barrett Alice A. Bauer Arnold Victor Coonin Marianne Ficarra Donald Garza Marion Husid Tod Marder Joan Matter Brooke Kamin Rapaport Claire Renkin Stephen A. Somers, with an Employer Match Donation from the Robert Wood Johnson Foundation Jack Spector David and Ann Wilkins The following persons generously donated funds to Volume 11 of the Rutgers Art Review. -
Vereniging Hendrick De Keyser in Oorlogstijd Beleid En Bestuur Gedurende De Duitse Bzetteing 1940-1945 Bosman, L
UvA-DARE (Digital Academic Repository) Vereniging Hendrick de Keyser in oorlogstijd Beleid en bestuur gedurende de Duitse bzetteing 1940-1945 Bosman, L. DOI 10.7480/knob.117.2018.3 Publication date 2018 Document Version Final published version Published in Bulletin (KNOB) License CC BY Link to publication Citation for published version (APA): Bosman, L. (2018). Vereniging Hendrick de Keyser in oorlogstijd: Beleid en bestuur gedurende de Duitse bzetteing 1940-1945. Bulletin (KNOB), 117(3), 167-177. https://doi.org/10.7480/knob.117.2018.3 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:26 Sep 2021 VERENIGING HENDRICK DE KEYSER IN OORLOGSTIJD BELEID EN BESTUUR GEDURENDE DE DUITSE BEZETTING 1940-1945 lex bosman Op donderdag 9 mei 1940 kwam het dagelijks bestuur Een dag later, op vrijdag 10 mei, werd alles anders. -
Art Forgeries and Their Detection
ArtArt ForgeriesForgeries andand TheirTheir DetectionDetection Megan McHugh Grace DiFrancesco Joe Gencarelli Cai Debenham Table of Contents ● Introduction………………………………………...Page 1 ● History……………………………………………...Page 2 ● Artist Forgers……………………………………...Page 3 ● Dealer Forgers…………………………………….Page 4 ● Examination………………………………………..Page 5 ● Carbon Dating……………………………………..Page 6 ● White Lead………………………………………...Page 7 ● X-Ray……………………………………………….Page 8 ● Dendrochronology………………………………...Page 9 ● Stable Isotope Analysis………………………….Page 10 ● Thermoluminescence……………………………Page 11 ● Craquelure………………………………………..Page 12 ● Digital Authentication…………………………….Page 13 ● Morellian Analysis………………………………..Page 14 ● Atomic Absorption………………………………..Page 15 Spectrophotometry………………………………..Page 16 ● Inductively Coupled Plasma Mass Spectrometry………………………………..Page 17 ● Wavelet Decomposition……………………..….Page 18 Table of Contents, cont. ● Photographic Forgery…………………………...Page 19 ● Victorian Waifs…………………………………...Page 20 ● The Rospigliosi Cup……………………………..Page 21 ● Etruscan Terracotta Warriors…………………...Page 22 ● Flower Portrait……………………………………Page 23 ● Michelangelo‟s „Cupid‟…………………………..Page 24 ● Samson Ceramics……………………………….Page 25 ● Getty Kouros……………………………………..Page 26 ● Copying vs. Forging……………………………..Page 27 ● Pastiche…………………………………………..Page 28 ● Organizations Introduction……………………...Page 30 ● Association Research into Crimes against Art………………………………....Page 31 ● Racketeer Influenced and Corrupt Organizations Act………………………...Page 32 ● Postal Fraud……………………….....................Page 33 ● Archaeological