From Renaissance Iconography to Twenty-First-Century Courthouses'
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Egbert Haverkamp Begemann Rembrandt the Holy Family, St
REMBRANDT THE HOLY FAMILV, ST PETERSBURG PREVIOUSLY PUBLISHED H.W. Janson, Form follows function- o-r does it? Modernist design themy and the histmy of art (The First Gerson Lecture, held on October 2, 1981) D. Freedberg, Iconoclasts and thei-r motives (The Second Gerson Lecture, held on October 7, 1983) C. H. Smyth, Repat-riation of art from the collecting jJoint in Munich afte-r WoTld Wa-r ff (The Third Gerson Lecture, held on March 13, 1986) A. Martindale, Hemes, ancesto-rs, Telatives and the biTth of the jJoTtmit (The Fourth Gerson Lecture, held on May 26, 1988) L. N ochlin, Bathtime: Reno iT, Cezanne, DaumieT and the p-ractices of bathing in nineteenth-century Fmnce (The Sixth Gerson Lecture, held on November 2 1, 1991) M. Warnke, Laudando Pmecipere, der Medicizyklus des Peter Paul Rubens (Der siebente Gerson Vortrag, am rS. November 1993 gehalten) EDITOR'S NOTE The 5th Gerson Lecture was held in 1989. Its final text was made available to the Gerson Lectures Foundation in 1991 . At that moment, an unhappy coincidence of circumstances made publication without further delay impossible. We regret the fact that we had to disappoint the supporters of ow- Foundation for such a long period. Now at last, we are able to publish this lecture, thanks to the generous sponsoring 'in kind' ofWaanders Uitgevers. The Fifth Gerson Lecture held in memoryofHorstGerson (1907-1978) in the aula of the University ofGroningen on the 16th ofNovember 1989 Egbert Haverkamp Begemann Rembrandt The Holy Family, St Petersburg Groningen T he Gerson Lectures Foundation 1995 l REMBRANOT The Holy Family, 1645 4 REMBRANDT THE HOLY FAMILY, ST PETERSBURG Horst Gerson was a remarkable art historian and a remarkable man. -
An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in the Paintings of Amron Omar and Haron Mokhtar
International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 9, 2020, E-ISSN: 2222-6990 © 2020 HRMARS An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in The Paintings of Amron Omar and Haron Mokhtar Ahmad Hakim Abdullah, Yuhanis Ibrahim and Raja Iskandar Raja Halid To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i9/7835 DOI:10.6007/IJARBSS/v10-i9/7835 Received: 11 June 2020, Revised: 16 July 2020, Accepted: 18 August 2020 Published Online: 23 September 2020 In-Text Citation: (Abdullah, Ibrahim, and Halid, 2020) To Cite this Article: Abdullah, A. H., Ibrahim, Y., and Halid, R. I. R. (2020). An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in The Paintings of Amron Omar and Haron Mokhtar. International Journal of Academic Research in Business and Social Sciences. 10(9), 589-601. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 9, 2020, Pg. 589 - 601 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 589 International Journal of Academic Research in Business and Social Sciences Vol. -
Virtues and Vices to Luke E
CATHOLIC CHRISTIANITY THE LUKE E. HART SERIES How Catholics Live Section 4: Virtues and Vices To Luke E. Hart, exemplary evangelizer and Supreme Knight from 1953-64, the Knights of Columbus dedicates this Series with affection and gratitude. The Knights of Columbus presents The Luke E. Hart Series Basic Elements of the Catholic Faith VIRTUES AND VICES PART THREE• SECTION FOUR OF CATHOLIC CHRISTIANITY What does a Catholic believe? How does a Catholic worship? How does a Catholic live? Based on the Catechism of the Catholic Church by Peter Kreeft General Editor Father John A. Farren, O.P. Catholic Information Service Knights of Columbus Supreme Council Nihil obstat: Reverend Alfred McBride, O.Praem. Imprimatur: Bernard Cardinal Law December 19, 2000 The Nihil Obstat and Imprimatur are official declarations that a book or pamphlet is free of doctrinal or moral error. No implication is contained therein that those who have granted the Nihil Obstat and Imprimatur agree with the contents, opinions or statements expressed. Copyright © 2001-2021 by Knights of Columbus Supreme Council All rights reserved. English translation of the Catechism of the Catholic Church for the United States of America copyright ©1994, United States Catholic Conference, Inc. – Libreria Editrice Vaticana. English translation of the Catechism of the Catholic Church: Modifications from the Editio Typica copyright © 1997, United States Catholic Conference, Inc. – Libreria Editrice Vaticana. Scripture quotations contained herein are adapted from the Revised Standard Version of the Bible, copyright © 1946, 1952, 1971, and the New Revised Standard Version of the Bible, copyright © 1989, by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America, and are used by permission. -
Erwin Panofsky, Leo Steinberg, David Carrier
Erwin Panofsky, Leo Steinberg, David Carrier: The Problem of Objectivity in Art Historical Interpretation Author(s): David Carrier Reviewed work(s): Source: The Journal of Aesthetics and Art Criticism, Vol. 47, No. 4 (Autumn, 1989), pp. 333- 347 Published by: Blackwell Publishing on behalf of The American Society for Aesthetics Stable URL: http://www.jstor.org/stable/431133 . Accessed: 24/04/2012 07:48 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]. Blackwell Publishing and The American Society for Aesthetics are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Aesthetics and Art Criticism. http://www.jstor.org DAVID CARRIER ErwinPanofsky, Leo Steinberg,David Carrier:The Problemof Objectivityin Art HistoricalInterpretation My cheeky title was inspiredby an anonymous tive "as objectively as possible" and yet "when reader's complaint in a rejection letter: "and they ... compared ... their efforts ... their tran- what's worse, at one point Carrier even com- scripts differed to a surprisingextent." Under- pares himself to Panofsky." But why indeed standing"these limits to objectivity"may, Gom- shouldI not comparemyself to him, since doing brich suggests, help us understandnaturalistic that is not, absurdly,to imply that my work is images. -
Call for Justice Museum Hof Van Busleyden Mechelen
Call for Justice Museum Hof van Busleyden Mechelen 23 MARCH - 24 JUNE 2018 ART AND LAW IN THE NETHERLANDS (1450-1650) Justice and injustice are two of the most prominent themes during the Golden Age of Netherlandish art in the fifteenth, sixteenth and seventeenth century. The dukes of Burgundy wanted to combine their territories in the Netherlands into one political entity, which in turn occasioned sweeping changes to the judicial system. They established central institutions, such as the Great Council of Mechelen, thereby effectively curtailing the authority of the local courts. While the legal process became more professional, it also became more cumbersome and less accessible. The discovery of the New World, the Dutch Revolt and the Spanish Inquisition unleashed a rampage of unprecedented horror. People who were different or held a different opinion were cruelly punished. Almost all the important painters of this period, from Rogier van der Weyden to Antoon van Dyck and Rembrandt all focused on the themes of justice, injustice and law in their work. They were inspired by examples of righteous behaviour in Biblical stories, allegories, myths and history. Their artworks show how crime is punished and provide solace for injustice. Contemporary abuses are mocked and denounced. The art of justice and injustice was used to decorate town halls and churches, and also penetrated the domestic sphere, mainly through books and prints. 1. Maarten de Vos The Tribunal of the Brabant Mint in Antwerp 1546 – KBC Snijders&Rockoxhuis, Antwerp © KBC Antwerpen Snijders&Rockoxhuis This painting almost serves as an introduction to the sixteenth-century iconography LADY JUSTICE of law. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
Lessons in Morality in a Changing World Allegories of Virtue and Vice in the Baillieu Library Print Collection Amelia Saward
Lessons in morality in a changing world Allegories of virtue and vice in the Baillieu Library Print Collection Amelia Saward As evident in texts ranging from the concurrent rediscoveries of ancient Hieronymus Wierix (c. 1553–1619).6 Bible to the writings of Aristotle philosophical teachings. Giotto’s The two representations of vice— and Thomas Aquinas, humans have figures of the virtues and vices Pride and Lust—are part of tried for millennia to understand and (situated below the cycle of frescoes Aldegrever’s series. explain the concept of morality and, on the life of the Virgin and Christ) The Raimondi prints, as well as more precisely, the human virtues and in the Scrovegni Chapel (Arena the majority of those by Beham and vices. Consequently, it is no surprise Chapel) at Padua, dating from Aldegrever, are from the significant that representations of morality 1303–05, are one of the earliest gift made by Dr J. Orde Poynton populate Western art throughout Renaissance examples.2 Along with (1906–2001) in 1959, while the history. Such representations usually an advanced understanding of time remaining prints mentioned were take the form of allegory. In the and temporality that began in the purchased by the university, bar one Renaissance’s age of humanism, medieval period, this re-emergence donated in recent years by Marion where Church principles and pagan of ancient theories heralded an era and David Adams.7 traditions were paradoxically mixed, characterised by an unsurpassed Although morality has been these representations demonstrated desire to understand the human a subject of human inquiry since the emergence and establishment of condition. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
Venus Anadyomene: the Mythological Symbolism from Antiquity to the 19Th Century
VENUS ANADYOMENE: THE MYTHOLOGICAL SYMBOLISM FROM ANTIQUITY TO THE 19TH CENTURY By Jenna Marie Newberry A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements of the Degree of MASTER OF ARTS IN ART HISTORY University of Wisconsin – Superior December 2011 2 3 Title: Venus Anadyomene: The Mythological Symbolism from Antiquity to the 19th Century Author: Newberry, Jenna Marie Advisors: Famule, Olawole and Morgan, William Abstract: This thesis includes reading the chosen artworks as a visual interpretation of the written mythological birth of Venus by the sea. Reading the selected painting as visual novels, the pictorial symbolism helps prove or disprove the true theme of the Venus. The writer bases her theory on the inclusion of mythological symbols that represent the Venus Anadyomene; scallop shell, dolphins, Aros, dove, sparrow, girdle, mirror, myrtle, and roses. The comparison of various artists‟ interpretations of this theme and the symbols they use to recognize the Venus as such is a substantial part of the research. The writer concludes in this thesis that the chosen art pieces are or are not a Venus Anadyomene, and in fact just a female nude entitled and themed fallaciously for an allure or ambiance. Through extensive research in the mythological symbolism of the Goddess of Love, the above-mentioned symbols used by various artists across several eras prove the Venus a true character of mythological history. Description: Thesis (M.A.) – University of Wisconsin, Superior, 2011. 30 leaves. 4 CONTENTS TITLE -
AHIS 500: Methods and Theory of Art History Monday 9-11:50, VKC 379
AHIS 500: Methods and Theory of Art History Monday 9-11:50, VKC 379 Professor Suzanne Hudson Office Hours, Monday 2:00-3:15 (VKC 381B) or by appointment [email protected] This seminar introduces graduate students to the theory and methodology of art history as a discipline and an interpretive practice. Recommended Resources (I have listed first editions below, but most have subsequent versions, and can be had very cheaply online): * Anne D’Alleva, Methods and Theories of Art History (Lawrence King Publishing, 2004). * Alexander Dumbadze and Suzanne Hudson, Contemporary Art: 1989 to the Present (Wiley-Blackwell, 2013). * Eric Fernie, Art History and Its Methods: A Critical Anthology (Phaidon Press Limited, 1995). * Robert S. Nelson and Richard Shiff, Critical Terms for Art History (The University of Chicago Press, 1996). * Donald Preziosi, The History of Art History (Oxford History of Art, 1998). Grade Distribution Two class presentations: 40% (20% each) Final comprehensive annotated bibliography and 5-7 page critical analysis: 60% Statement for Students with Disabilities: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. The phone number for DSP is 213.740.0776. Statement on Academic Integrity: USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. -
ART of the RENAISSANCE Spring 2016 / M-W 6B (2:35-3:45Pm)/ Room 204 Hall of Science
1 MORAVIAN COLLEGE Syllabus AR 218: ART OF THE RENAISSANCE Spring 2016 / M-W 6B (2:35-3:45pm)/ Room 204 Hall of Science Dr. Radycki/ [email protected] Office: Art Office Complex, South Hall (south campus)/ phone 610-861-1627 Hours: South campus M-W 4:00-5:00pm & North campus M-W 1/2 hour before/ after class (& by chance or appointment) ************************************************************************ COURSE DESCRIPTION This lecture course is an introduction to the visual arts in Renaissance and post- Renaissance Europe. It focuses on the development of style (Early and High Renaissance, Mannerism, and Baroque) by examining a substantial body of material from, primarily, the 15th to the 17th centuries. Major artists discussed are, in Italy, Leonardo, Raphael, Michelangelo, and Caravaggio; and, in the North, Duerer, Bruegel, Rubens, and Rembrandt. Also included are El Greco, Velasquez, and Poussin. Issues of patronage and gender are examined in historical context. The class includes power point presentations, textbook readings, written assignments, tests, and field trips. Art museum and gallery visits are required. N.B. This course is one of five required courses for an art history minor. GOALS Students will learn to identify a core set of masterpieces from each period, as well as describe the compositional styles of individual works. REQUIRED TEXTS for purchase 1) Peter and Linda Murray, Art of the Renaissance 2) Linda Murray, High Renaissance and Mannerism 3) Germain Bazin, Baroque and Rococo 4) Elizabeth Holt, Documentary History of Art, vol. II RECOMMENDED READING The New Testament Gospels Joshua C. Taylor, Learning to Look: A Handbook for the Visual Arts Heinrich Woelfflin, Principles of Art History: The Problem of the Development of Style in Later Art COURSE REQUIREMENTS Students must attend all classes and bring the required text to each class.