Giotto in Holy Land
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Christian Themes in Art: the Resurrection in Art Transcript
Christian Themes in Art: The Resurrection in Art Transcript Date: Wednesday, 16 February 2011 - 1:00PM Location: Museum of London The Resurrection in Art The Rt Revd Lord Harries of Pentregarth Gresham Professor of Divinity Dura Europos, a town on the frontier of the Roman and Persian Empire where a synagogue and house church, the earliest known and dating from early 3rd century, have been discovered under the ruins. Murals on walls of both synagogue and church. The three women approach the tomb. The catacombs. No scene of the empty tomb or resurrection but faith expressed through raising of Lazarus. “I am the Resurrection and the Life” (John chapter 11) and the story of Jonah. Jesus raising Lazarus The story of Jonah The cross and the resurrection seen together as a unified victory. See previous lecture on the Passion in Art. 4th century sarcophagus. Four panels in British Museum dating from 420. The earliest depiction of Christ on the Cross, a unified passion scene of Christ carrying the cross, Pilate washing his hands and Peter denying Christ, plus these two witnessing to the Resurrection. Note the scenes on the door of the tomb. Profound reticence about showing resurrection of Christ itself. (Not described in Gospels) So women at empty tomb a favourite theme. The tomb in the shape of the rotunda built over the place where Christ was buried in Jerusalem seen by pilgrims. The fact that the place could be seen and depicted an important witness. From 8th century it tended to become a cave. Two women usually shown, and this became standard. -
To Evangelize God?S People Beginning with the Gift of the Holy Eucharist
Our Mission Statement: To evangelize God?s people beginning with the gift of the Holy Eucharist. June 9, 2019 Pentecost Sunday (Page 321 in the Red Missal) Fr. Joseph Illo Pentecost (Page 667 in the Black Missal) Pastor Mission Appeal We wel- have been stillborn. For this reason most of Fr. Mark Taheny the Sundays of the liturgical year refer back to come Fr. Bernard Toha, Parochial Vicar this year?s mission Pentecost (as in the older form of the calen- preacher, this Sunday. Fr. dar). We call the vast stretch of Sundays from Fr. John Mary Chung Bernard joined the Oblates Pentecost to Advent (roughly 65% of the year) In Residence of St. Francis de Sales in ?Ordinary Time? since Vatican II, meaning his native Benin (West not ?ordinary/ho hum? but ?ordered to the Fr. Mathias Wambua Africa) where he works to- work of the Holy Spirit.? Before 1970 the Sun- In Residence day, building up the days from Pentecost to Advent were called Church and saving souls in obedience to the ?Sundays after Pentecost,? making it clearer Derek West Lord?s mandate to ?teach all nations every- that Catholics go through the year, building Operations Manager the Church and thing I told you, bap- Ellen Torkelson tizing them in the saving souls al- name of the Holy ways, motivated Payroll /Human Resources Trinity". Most of us do by the power and Thelma Queri not do missionary submissive to the Bookkeeper work outside of the guidance of the good old USA (al- Holy Spirit. You Mariella Zevallos though I will be doing can?t see the Holy Director of Communications a week of mission in Spirit, just as you and Development Nicaragua in August), can?t see the infer- but all of us must nal spirits, but you Lynn Kraehling support the missions. -
The Scrovegni Chapel. Multidisciplinary Research and Environmental Protection
Giuseppe Basile - Eugenio Mancinelli - Maurizio Marabelli - Paola Santopadre - Marcella Ioele - Vasco Fassina - Antonio G. Stevan - Roberto Cesareo - Alfredo Castellano The Scrovegni Chapel. Multidisciplinary Research and Environmental Protection Introduction physical evaluation relative to the study of the State of conser• vation and the causes of decay of the mural paintings and to the The restoration of the pictorial cycle of Gioito in the Scrovegni assessment of air quality and microclimate of their container. in Chapel has meant for the Central Institute of Restoration (ICR) addition to defining and realizing a number of interventions and former director at that time, Mr. Giovanni Urbani, the aiming at preventing the decay: the ultimate goal of the research opportunity to put together a proposal and experiment a radi- has been creating a technological ambient (named in Italian cally different approach to restoration from the traditional one, Corpo Tecnologico Attrezzato. acronym CTA) equipped with a which is based on a few. but fundamental principles: heating and chilling plant and an air filtering unit for the pre- 1. The first one consists in detecting. through a number of ventive conservation of the Chapel. investigations, tests and scientific analyses appropriately To better outline the development of the research and the tackling the issue. which were the causes of decay or dam- interventions applied to the environment. the building and the ages that were visible on the paintings with the purpose of mural paintings. a chronological order has been followed. removing them or at least reducing their kinetics. 2. The second one consists in implemenling target interven- tions ahead of time to reset the environment to suitable Research and interventions: conditions, i.e. -
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14Th-16Th Centuries
The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller The Representations of Elderly People in the Scenes of Jesus’ Childhood in Tuscan Paintings, 14th-16th Centuries: Images of Intergeneration Relationships By Welleda Muller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Welleda Muller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9049-9 ISBN (13): 978-1-4438-9049-6 This book is dedicated to all of my colleagues and friends from MaxNetAging: Inês Campos-Rodrigues, Kristen Cyffka, Xuefei Gao, Isabel García-García, Heike Gruber, Julia Hoffman, Nicole Hudl, Göran Köber, Jana Kynast, Nora Mehl, and Ambaye Ogato. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Acknowledgments .................................................................................... xiii Introduction ................................................................................................ -
Rethinking Savoldo's Magdalenes
Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs. -
Kiss of Judas the Apostle JUDAS ISCARIOT Page 1
Kiss of Judas The Apostle JUDAS ISCARIOT Page 1 Born: Kerioth, Judea Died: 30 AD, Jerusalem, Israel Death: Hanged himself from a tree He was the son of Simon. He was the Treasurer for the Disciples. He betrayed Jesus for 30 silver coins. He committed suicide after Jesus was captured. He was replaced by Matthias as the 12th Disciple. Judas Iscariot is typically remembered for one thing: his betrayal of Jesus. He was one of the twelve disciples who lived with and followed Jesus for three years. He witnessed Jesus’ ministry, His teaching, and His many miracles. He was the treasurer for the group and used this trusted position to steal from their resources (John 12:6). Judas was a common name in that era, and there are several other Judases mentioned in the New Testament. One of the other disciples was named Judas (John 14:22), and so was one of Jesus’ own half-brothers (Mark 6:3). To differentiate, John 6:71 and John 13:26 refer to Christ’s betrayer as “Judas, son of Simon Iscariot.” Scholars have several ideas about the derivation of the surname. One is that Iscariot refers to Kerioth, a region or town in Judea. The surname Iscariot is useful, if for no other reason, in that it leaves no doubt about which Judas is being referred to. Here are some of the facts from key verses about Judas and his betrayal: Money was important to Judas. As already mentioned, he was a thief, and, according to Matthew 26:13–15, the chief priests paid him “thirty silver coins” to betray the Lord. -
Scrovegni Chapel 1 Scrovegni Chapel
Scrovegni Chapel 1 Scrovegni Chapel The Scrovegni Chapel, or Cappella degli Scrovegni, also known as the Arena Chapel, is a church in Padua, Veneto, Italy. It contains a fresco cycle by Giotto, completed about 1305, that is one of the most important masterpieces of Western art. The church was dedicated to Santa Maria della Carità at the Feast of the Annunciation, 1305. Giotto's fresco cycle focuses on the life of the Virgin Mary and celebrates her role in human salvation. The chapel is also known as the Arena Chapel because it was built on land purchased by Enrico Scrovegni that abutted the site of a Roman arena. This space is where an open-air procession and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built. A motet by Marchetto da Padova appears to have been composed for the dedication on March 25, 1305.[1] The chapel was commissioned by Enrico Scrovegni, whose family fortune was made through the practice of usury, which at this time meant charging interest when loaning money, a sin so grave that it resulted in exclusion from the Christian sacraments.[2] Built on family estate, it is often suggested that Enrico built the chapel in penitence for his father's sins and for Capella degli Scrovegni absolution for his own. Enrico's father Reginaldo degli Scrovegni is the usurer encountered by Dante in the Seventh Circle of Hell. A recent study suggests that Enrico himself was involved in usurious practices and that the chapel was intended as restitution for his own sins.[3] Enrico's tomb is in the apse, and he is also portrayed in the Last Judgment presenting a model of the chapel to the Virgin. -
Giotto's Fleeing Apostle
Giotto’s Fleeing Apostle PAUL BAROLSKY —In memory of Andrew Ladis Ihave previously suggested in these pages that in the Humanities, to which this journal is dedicated, the doctrine of ut pictura poesis dominates our thinking to such an extent that we often make false or over-simplified equa- tions between texts and images, even though there is never an exact identity between words, which tell, and mute im- ages, which show. The falsifying equation between text and image is a corrupting factor in what is called “iconography,” the discipline that seeks, however imperfectly, to give verbal meaning to wordless images. Texts may suggest connota- tions or implications of images, but images never render the exact denotations of these texts. I would like to suggest here a single example of such a delicate if not fragile link between text and image—a case in which the artist begins with a text but transforms it into something other than what the words of the text describe. My example is found in the art of one of the great masters in the history of European art. I speak of Giotto. Of all the personages that Giotto painted in the Scrovegni Chapel, one of the most mysterious is the forbidding, hooded figure with his back to us, who clutches a drapery in his clenched fist in the left foreground of the Arrest of Jesus (fig. 1). This ominous figure leads us down a fascinating path. In his magisterial book Giotto’s O, Andrew Ladis ob- serves that the “anonymous henchman” has in his “rigid grasp” the robe of an “inconstant and indeterminate apostle who flees . -
The Restoration of Giotto's Wall Paintings in the Scrovegni Chapel
Francesca Capanna, (I.C.R.) The restoration of Giotto’s Wall Paintings in the Scrovegni Chapel of Padua according to the principles of Cesare Brandi’s Theory The restoration of Giotto’s Wall Paintings in the Scrovegni Chapel of Padua according to the principles of Cesare Brandi’s Theory 1. Brief conservation history and some notes on preliminary studies for the recent restoration project 2. Notes on the main causes of deterioration and the principal areas affected by loss of pictorial text 2.1. abrasions 2.2. lacunae 3. How lacunae were reintegrated during previous restorations 4. Cesare Brandi’s Theory of Restoration and the reconstruction of the pictorial text during the latest restoration 1 1. Brief conservation history and some notes on preliminary studies for the recent restoration project 1. Brief conservation history and some notes on preliminary studies for the recent restoration project Padua, civic museum - Fioravanti Penuti: Scrovegni chapel and the Palace, incision from a drawing of Alessandro Buzzacarini 1842 2 1. Brief conservation history and some notes on preliminary studies for the recent restoration project Padua, civic library, iconografia padovana xxxvi 7385 - Padua, civic library, iconografia padovana xxxvi – AugustoGabriele Caratti Benvenisti e Leopoldo e Vincenzo Toniolo: Grassellidrawing of: drawing of Mary’s Wedding procession, 1871 the presbytery of the chepel 1. Brief conservation history and some notes on preliminary studies for the recent restoration project Padua, Scrovegni Chapel, inside, sandbags during the Second World War Leonetto Tintori 3 1. Brief conservation history and some notes on preliminary studies for the recent restoration project The cause of the alterations was certainly not due to the treatment itself, but more likely because of a lack of environmental control where the work was housed and the general conservation parameters. -
Saints of the Week
Africa certainly faces a host of problems, from Saint Charles Lwanga and Companions’ Story endemic poverty and disease, to political One of 22 Ugandan martyrs, Charles Lwanga is corruption and civil wars to economic the patron of youth and Catholic action in instability, to the imposition of ideological most of tropical Africa. He protected his colonialism, to the crises of globalization and fellow pages, aged 13 to 30, from the exploitation of human and natural resources homosexual demands of the Bagandan ruler, and the bloody march of Islamists such as ISIS Mwanga, and encouraged and instructed and Boko Haram. them in the Catholic faith during their WEEKLY NEWSLETTER 31st MAY 2020 imprisonment for refusing the ruler’s Given those challenges it is easy to think of MASS INTENTIONS demands. Africa as a place where hope does not exist. Sun 31 11.30 am Yet, in fact, the continent is filled with the Charles first learned of Christ’s teachings from promise of a vibrant, young and dedicated two retainers in the court of Chief Catholic Church that continues to grow Matt McCusker Mawulugungu. While a catechumen, he exponentially — even as African Catholics are (Recently Deceased) entered the royal household as assistant to already helping to re-evangelize the West in Joseph Mukaso, head of the court pages. Phil Gough the face of secularism, the culture of death (Recently Deceased) and an amnesia regarding the primacy of God On the night of Mukaso’s martyrdom for and the centrality of the family. James Pearse Kilcullen encouraging the African youths to resist (Recently Deceased) Mwanga, Charles requested and received baptism. -
The Arrest of Jesus
Sermon Discussion Guide: The Arrest of Jesus Scripture: Luke 22:47–53 Series: The Gospel of Luke Sunday, June 14, 2020 — O V E R V I E W In these verses we see Jesus betrayed with a kiss and arrested for crimes he didn’t commit. We don’t see Jesus act as we might if arrested. Rather, we see our Savior display many of the same traits that He has throughout his ministry. He leads by example. He did not repay evil by sinning. He shows us his true power and example so we might place our zeal in Christ. God knows each of us and we need to “learn from and lean on Christ.” Jesus submits to evil to save us from evil. — C O R R O B O R A T I N G T E X T S John 18:1–11; Colossians 2:13–15; 1 John 4:14 — D I S C U S S I O N Q U E S T I O N S 1. Jesus is betrayed by Judas when he draws near with a kiss. Read Psalm 55:12–14. Did Jesus feel betrayed? Why is the act of the kiss so significant in the betrayal? Pastor Joe called the kiss of Judas “a lie.” The act is very hypocritical. How are we like Judas? Can our relationship with Jesus become a lie? What is the application for us? 2. Most are familiar with the account of Jesus’ arrest. We see Jesus’ actions in both parallel accounts in Luke and John. -
"Things Not Seen" in the Frescoes of Giotto
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 "Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth Aaron Hubbell Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Hubbell, Aaron, ""Things Not Seen" in the Frescoes of Giotto: An Analysis of Illusory and Spiritual Depth" (2017). LSU Master's Theses. 4408. https://digitalcommons.lsu.edu/gradschool_theses/4408 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. "THINGS NOT SEEN" IN THE FRESCOES OF GIOTTO: AN ANALYSIS OF ILLUSORY AND SPIRITUAL DEPTH A Thesis Submitted to the Graduate Faculty of Louisiana State University and the School of Art in partial fulfillment of the requirements for the degree of Master of Arts in Art History in The School of Art by Aaron T. Hubbell B.F.A., Nicholls State University, 2011 May 2017 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Elena Sifford, of the College of Art and Design for her continuous support and encouragement throughout my research and writing on this project. My gratitude also extends to Dr. Darius Spieth and Dr. Maribel Dietz as the additional readers of my thesis and for their valuable comments and input.