The Mona Lisa, by Leonardo Da Vinci Keywords
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Top Ten Most Influential People
Top Ten Most Influential People Samantha Wall Ten - Mansa Musa I ● Ruler of the Mali Empire (1312 - 1337) ● Controlled territories rich in copper and gold ● Brought back scholars and architects from his pilgrimage to Mecca who built mosque and universities ● Army around 100,000 men helped him double the territory of Mali (second in size to the Mongol Empire at that time) Mansa Musa is ten because I wasn’t convinced that he did much to influence those after him. Most only know him for being the richest man and giving gold to the poor. Nine - Leonardo Da Vinci (1452-1519) ● Italian polymath of the Renaissance ● Painted the Mona Lisa and The Last Supper ● Had groundbreaking studies on optics and perspective ● Fused science and art to create works that become part of humanity’s story ● He designed helicopter screw and things for flying machines Da Vinci is ninth because his work is still being studied today. Whether it‘s his paintings or his machine designs. He’s one of the most known painters of his time. Eight - Joan of Arc (1412-1431) ● Peasant girl living in medieval France ● Believed that God had chosen her to lead France to victory in its long-running war with England ● Joan was captured by Anglo-Burgundian forces, tried for witchcraft and heresy and burned at the stake ● Symbol of French unity and nationalism ● Known as the Maid of Orléans Joan of Arc is eight because she helped win the Hundred Years War. She was able to accomplish so much even though she was only nineteen. -
Reflection 56.2 Reflection 56.2 Spring 2015
Reflection 56.2 Reflection 56.2 Reflection Spring 2015 Reflection 56.2 Reflection 56.1 Copyright © 2014 Reflection, Gonzaga University All rights reserved. No portion of this magazine may be copied or in any ways reproduced without written consent of the editor and Gonzaga University. Views and opinions in Reflection are those of the individuals and do not necessarily represent the views of Gonzaga University. Reflection submissions are evaluated and selected anonymously. Reflection staff would like to thank everyone who participated in the literary and visual arts community on campus by submitting to the journal. Joanne Shiosaki and Jeffrey Dodd deserve our praise for facilitating an instructive and posiitive experience. Reflection 56.1 Editor // Katherine Charters Assistant Editor // Natalie Ochoa Editorial Assistants // Kaitlyn Anson, Rachel Clark, Zack Rosse, Sarah Taylor Poetry // Maria Mills Fiction // Kellie Malone Visual Art // Mariah Chavez Photography // Emily Luse Graphic Design // Matt Friedman Advisor // Jeff Dodd We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out. Ray Bradbury TABLE OF CONTENTS Editorial Statement 1 Flash Fiction Contest Winners // David Boose 2 Vocation // Luke Janicki 3 Avoir l’air // Katie Schmarr 4 Reflection: Editing the Journal at its Inception // Monda Sherick Van Hollebecke 6 Chokecherries on Shepherd’s Butte // Monda Sherick Van Hollebecke 10 The Shark That Swam Through the Forest // Kellie Malone 11 Lazarus // Natalie -
Hekking's Mona Lisa at Christie's Paris
« PRESS RELEASE - PARIS – THURSDAY 27 MAY 2021 - FOR IMMEDIATE RELEASE Hekking’s Mona Lisa at Christie’s Paris Online sale from 11 to 18 June 2021 EARLY 17TH CENTURY ITALIAN SCHOOL, FOLLOWER OF LEONARDO DE VINCI Hekking’s Mona Lisa Oil on canvas Estimate : €200,000-300,000 Paris - Christie's is pleased to present a famous early replica of the Mona Lisa in this beautiful interpretation known as the Hekking's Mona Lisa, named after its owner in the 1950s, Raymond Hekking (1866-1977), who acquired it from an antique dealer in a small village in the Nice area. This work and its history illustrate the fascination that the Mona Lisa and the aura of Leonardo da Vinci have always held. Consigned in the south of France through our regional representative Fabienne Albertini, this spectacular work of art with its incredible history and quality of execution is estimated at €200,000- 300,000. Pierre Etienne, International Director of Old Master Paintings: "Art challenges, fascinates, sometimes obsesses. Hekking's Mona Lisa that we are pleased to present bears the name of its owner and inventor, Mr Raymond Hekking (1886 - 1977). She is the perfect illustration of the fascination the Mona Lisa has always inspired and which she exerts more and more. She is the dream of a man with a passion for art. She is his Ideal. Raymond Hekking was her staunch defender among art historians and the world's media in the 1960s. She will be his Muse, he will be her Poet.” Raymond Hekking fascinated the world's media by trying to cast doubt on the authenticity of the original, on panel, preserved in the Louvre Museum in favour of his work. -
Comparative Image Analysis in Visual Arts and Art Education
EURASIA Journal of Mathematics, Science and Technology Education ISSN: 1305-8223 (online) 1305-8215 (print) OPEN ACCESS 2017 13(11):7329-7338 DOI: 10.12973/ejmste/79605 Comparative Image Analysis in Visual Arts and Art Education Naciye Derin Isikoren 1*, Faruk Kalkan 1 1 European University of Lefke, N. CYPRUS Received 19 June 2017 ▪ Revised 15 September 2017 ▪ Accepted 8 October 2017 ABSTRACT In visual art education, researchers has to be aware that it is necessary to explore the position of an image, within the time period’s cultural, sociological, technological conditions that effect the image, in order to achieve a full understanding of that very image or visual composition. In that sense, setting a sample study that mirrors “how and under which effects a sign changes throughout time?” is worth investigating. The aim of this study is to explore the traces of symbolic existence of peripheral circumstances in a visual composition and as well as reflect that the composition is structured by these circumstances. In that sense, a brief review of the history of woman image has been chosen to set a sample study to search for the above mentioned dynamic. In order to trace the links in between meaning making and meaning reading processes, with the basic assumption that any sign’s meaning differs according to its position among surrounding signs “woman image” offers continuity of existence throughout history which constitutes the bases for a comparative research. Continuity, in comparative analysis of an image may constitute a solid base in order to increase the level of cognation of students in the field of visual arts. -
Key to the People and Art in Samuel F. B. Morse's Gallery of the Louvre
15 21 26 2 13 4 8 32 35 22 5 16 27 14 33 1 9 6 23 17 28 34 3 36 7 10 24 18 29 39 C 19 31 11 12 G 20 25 30 38 37 40 D A F E H B Key to the People and Art in Samuel F. B. Morse’s Gallery of the Louvre In an effort to educate his American audience, Samuel Morse published Descriptive Catalogue of the Pictures. Thirty-seven in Number, from the Most Celebrated Masters, Copied into the “Gallery of the Louvre” (New York, 1833). The updated version of Morse’s key to the pictures presented here reflects current scholarship. Although Morse never identified the people represented in his painting, this key includes the possible identities of some of them. Exiting the gallery are a woman and little girl dressed in provincial costumes, suggesting the broad appeal of the Louvre and the educational benefits it afforded. PEOPLE 19. Paolo Caliari, known as Veronese (1528–1588, Italian), Christ Carrying A. Samuel F. B. Morse the Cross B. Susan Walker Morse, daughter of Morse 20. Leonardo da Vinci (1452–1519, Italian), Mona Lisa C. James Fenimore Cooper, author and friend of Morse 21. Antonio Allegri, known as Correggio (c. 1489?–1534, Italian), Mystic D. Susan DeLancy Fenimore Cooper Marriage of St. Catherine of Alexandria E. Susan Fenimore Cooper, daughter of James and Susan DeLancy 22. Peter Paul Rubens (1577–1640, Flemish), Lot and His Family Fleeing Fenimore Cooper Sodom F. Richard W. Habersham, artist and Morse’s roommate in Paris 23. -
Il Caso Di Studio Della Mona Lisa
E DIVERSE POSSIBILITÀ DI VALUTAZIONE LDI UN’OPERA D’ARTE: IL CASO DI STUDIO DELLA MONA LISA Salvatore Lorusso Foreign Member of the Russian Academy of Natural Sciences con la collaborazione di Angela M. Braida e Andrea Natali Premessa Il presente scritto ha lo scopo di evidenziare l’importanza nel mondo dell’arte di alcuni aspetti da ritenere fondamentali per pervenire ad un giudizio corretto sull’opera d’arte oggetto di valutazione [1-10]. Essi sono: • il rispetto della “historia” che accompagna l’oggetto d’arte; • la correttezza della terminologia che, come tale, implica concetti e significati da osservare e seguire; • il percorso metodologico da impiegare allo scopo di fornire la risposta allo speci- fico quesito proposto, coinvolgendo necessariamente varie e sinergiche competenze scientifiche nel rispetto del valore olistico del bene culturale. Di seguito, quindi, in riferimento all’attuale e discusso tema dell’attribuzione e au- tenticazione delle opere d’arte, si discute su: a. le diverse possibilità di valutazione di un’opera d’arte distinguendo i differenti gradi di certezza nell’attribuzione; b. il corrispondente e completo percorso metodologico di valutazione; c. il caso di studio che si riferisce all’opera di Leonardo da Vinci considerata fra le più prestigiose di tutti i tempi “Mona Lisa – Gioconda”, un unicum nel mondo dell’arte; d. la sequenza riassuntiva che comprende le varie versioni e copie dell’opera vinciana come da fonti archivistico-bibliografiche; e. quale esempio emblematico di quanto in precedenza evidenziato, la trattazione sintetica dell’indagine di carattere storico e diagnostico-analitico del dipinto ad olio su tela “Gioconda con Colonne di San Pietroburgo” condotta allo scopo di fornirne la corretta attribuzione. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Mona Lisa: a Comparative Evaluation of the Different Versions S
ONA LISA: A COMPARATIVE EVALUATION OF THE MDIFFERENT VERSIONS AND THEIR COPIES Salvatore Lorusso* Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Andrea Natali Dipartimento di Beni Culturali Alma Mater Studiorum Università di Bologna, Ravenna, Italy Keywords: “Mona Lisa”, versions, copies 1. Introduction In a previous study [1], which included stylistic and diagnostic analyses, it was found that the oil painting on canvas “Mona Lisa with columns”, part of a private collection in a museum in St. Petersburg (Figure 1), is a copy of the “Mona Lisa” by Leonardo (Figure 2) dating to a period between 1590 and 1660. Noteworthy features include the good quality, readability and expressiveness emanating from the work, which presum- ably is of Nordic influence, specifically German-Flemish. Figure 1. Photograph in the visible of the painting “Mona Lisa with Columns”, St. Petersburg (oil on canvas 63.2 x 85.2 cm ) CONSERVATION SCIENCE IN CULTURAL HERITAGE * Corresponding author: [email protected] 57 Figure 2. The Louvre “Mona Lisa” More specifically, given the importance of the subject, which includes Leonardo’s well-known masterpiece, the conclusion that was reached in defining the above paint- ing a copy of the original, involved examining, from a methodological point of view, investigations carried out in 2004 on the Louvre “Mona Lisa” by the “Center for Re- search and Restoration of the Museums of France”, and published in “Au coeur de La Joconde – Léonard de Vinci Décodé”. This sequence of investigations – which were certainly not aimed at authentication – were examined together with those of the Na- tional Gallery in London, thus enabling comparisons to be made with other works by Leonardo [2-3]. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Puzzles Games What Am I 2
What Am I? GUESS THE MYSTERY THING Here are some clues: I was born in 1503 in Florence, Italy. page 1 My twin lives in Madrid, Spain. page 2 I owe my fame to the study of anatomy. page 3 My name implies happiness. page 4 I am a child of the Renaissance. page 5 My admirers sing my praises. page 6 In my youth, I made the long journey from Italy to France. page 7 I tend to pose in a three-quarter position. page 8 When I was absent, people became more interested in getting to know me. page 9 I once had the opportunity to meet Jackie Kennedy. page 10 People claim that I am priceless. page 11 I have resided at many royal palaces. page 12 People are often disappointed by my size. page 13 The hair around my eyes is blatantly absent. page 14 I am nervous about being hit with flying objects. page 15 During World War II, I was sent away for safekeeping. page 16 I am celebrated the world over. page 17 Under my public exterior lies secrets to my past. page 18 I was once abducted from my home. page 19 My fans frequently send me cards, letters, and emails. page 20 Pablo Picasso was accused of abducting me. page 21 My creator was a part of the last supper. page 22 I belong to the French government. page 23 Many people have speculated about my smile. page 24 If you visit the Louvre Museum in Paris, you will see me. -
2016 National Humanities Bee Round 4
Humanities Bee 2015-2016 Round 4 Round 4 Bee Semifinals (1) Charles Ives' Concord Sonata calls for one of these musical concepts to be created with a long piece of wood. An unusual one of these is named for Wagner's [vahg-ner's] Tristan and Isolde, in which it appears. The tri-tone is often called the \Devil's" type of this concept. They are augmented if its highest element is raised a half step, and they can be broken up into an arpeggio, in which each note is played sequentially. For the point, give this musical term for three or more musical notes played simultaneously. ANSWER: chord (accept cluster chord or tone cluster; prompt on cluster) (2) One character in this play tells an orphan that losing both parents \looks like carelessness." The title of this work serves as its last line, spoken to Aunt Augusta. At the end of this play, after one character is revealed to have been left in a train station as a baby, Miss Prism, Cecily, and Gwendolen all finally land in happy relationships. For the point, name this play in which Algernon Moncrief and Jack Worthing each lie to their beloved about their first name, a comedy written by Oscar Wilde. ANSWER: The Importance of Being Earnest (3) In a story by this author, the corpse of Homer Barron is found in the title character's bed after her funeral. This author of \A Rose for Emily" set many of his works in Yoknapatawpha [YOK-na-puh-TAH- fuh] County. A novel by this author is told from the points of view of people associated with the Compson family.