Bernini and Other Studies in the History Of

Total Page:16

File Type:pdf, Size:1020Kb

Bernini and Other Studies in the History Of Ki CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE FINE ARTS DATE DUE Cornell University Library N "l^r-7H| \<^ 7445.N88 Bernini and other studies in ttie history 4891- 3 1924 020 704 122 'gi-^^^a Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020704122 BERNINI AND OTHER STUDIES THE MACMILLAN COMPANY NEW YORK • BOSTON - CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO V' ,/<? «^ !A8i Plate I. BERNINI AND OTHER STUDIES IN THE HISTORY OF ART BY RICHARD NORTON MUSEUM OF FINE ARTS, BOSTON THE MACMILLAN COMPANY LONDON: MACMILLAN AND COMPANY 1914 All rights reserved s H Hit rf4 -a^ COPTBIGHT, 1914, By the MACMILLAN COMPANY. Set up and electrotyped. Published October, 1914. Norinodli ^teiss J, S. Onshing Go. — Berwick & Smith Go. Norwood, Mass., U.S.A. PREFACE The essays presented in the following pages are the prod- uct of no hasty thought. I am grateful to the kind friends who have encouraged their publication, and to the publishers for giving them so attractive a form. The choice of illustrations has been difficult. It has seemed best, however, to reproduce in full the little-known sketches of Bernini showing the development, in his mind, of the design for the Piazza of St. Peter's, and the sculptor's models wrought by his own hands. For the rest I have thought that it would be more serviceable for the reader to have a few typical examples illustrating the main points of the text rather than a larger, and perhaps more confusing, selection of subjects from the almost inexhaustible wealth of available material. I am under deep obligation for the gen- erous permission to include among the illustrations material in the Brandegee Collection (at Faulkner Farm, Brookline, Massachusetts) hitherto unpublished. The heliotype plates were prepared and printed under the direction of Mr. William C. Ramsay, of Boston. RICHARD NORTON. London, July, 1914. CONTENTS BERNINI I. An Estimate of Bernini 3 II. A Collection of Sculptob's Models by Bernini . 44 III. Bernini's Designs for the Piazza of St. Peter's . 50 ASPECTS OF THE ART OF SCULPTURE I. The Art of Portraiture, particularly in Sculpture . 57 II. Pheidias and Michael Angelo 93 III. A Head of Athena found at Cyrene .... 135 GIORGIONE I. Paintings attributed to Giorgione 155 II. The True Giorgione 172 INDEX 215 PLATES PLATES I AND II. PORTRAITS OF BERNINI HITHBEB I, Bernini. Pencil Drawing, by himself (p. 12) ; Brandegee Collection Frontispiece FACING FXQE II. Portrait, formeriy thought to be of Velasquez, probably of Bernini (p. 12, footnote 3) ; Capitoline Gallery, Rome . 4 PLATES III-X. WORKS OF BERNINI III. ^neas and Anchises (p. 16) ; Borghese Collection, Eome . 8 IV. David (p. 17) ; Borghese Collection 12 V. Proserpina and Pluto (p. 17) ; Borghese Collection . 16 VI. Apollo and Daphne (p. 17) ; Borghese Collection . 18 VII. Angel with the Crown of Thorns (p. 25) ; Church of S. Andrea delle Pratte, Rome 22 VIII. Angel with a Scroll (p. 25) ; Church of S. Andrea delle Pratte, Rome 24 IX. Saint Theresa (p. 30) ; Church of S. Maria della Vittoria, Rome 30 X. Louis XIV (p. 39) ; Versailles 38 PLATES XI-XXVII. SCULPTOR'S MODELS BY BERNINI; BRANDEGEE COLLECTION XI. Female figure in relief, with helmet (p. 46, No. 1) . .44 XII. Figure of Longinus, for St. Peter's (p. 46, No. 2) . .44 Xin. Putti, for the decoration of the piers in St. Peter's (p. 47, Nos. 3 and 4) 44 XIV. Two saints, for the Ciborlo in the Cappella del Sacramento in St. Peter's (p. 47, Nos. 5, 7) 46 XV. Two saints, for the Ciborio in the Cappella del Sacramento in St. Peter's (p. 47, Nos. 6, 8) 46 XVI. Bas-relief with half-figures (p. 47, No. 9) .... 46 iz PLATES FAOINa PA.OB XVII. Half figure of a Triton holding a woman on his shoul- ders (p. 47, No. 10) 46 XVIII. Study for the head of the St. Jerome in the Duomo of Siena (p. 47, No. 11) . 46 XIX-XXIV. Models of Angels (pp. 47, 48, Nos. 12-21) . 48 XXV. Standing male figure in high relief (p. 49, No. 22) . 48 XXVI. Oval bas-relief of the Virgin (p. 49, No. 23) . 48 XXVII. Standing female figure, and standing Angel (p. 49, Nos. 24, 25) 48 PLATES XXVni-XL. BERNINI'S DESIGNS FOR THE PIAZZA OF ST. PETER'S; BRANDEGEE COLLECTION XXVIII. Orb, surmoimted by a cross f outline of a crucified figure (p. 51, Nos. 1, 2) 50 XXIX. Outline plan of St. Peter's church correlated with a figure on a cross above lines suggesting the col- oimades (p. 52, Nos. 3, 4) 50 XXX. More complete correlation of the crucified figure with St. Peter's church (p. 52, Nos. 5, 6) . .50 XXXI. Outline elevation of north half of the fagade of St. Peter's, with the colonnade (p. 52, No. 7) . .52 XXXII. Sketches of the north colonnade (p. 53, No. 8) . .52 XXXIII. More elaborate sketch of the north colonnade (p. 53, No. 9) 52 XXXIV. Outline sketch of the outer end of the north arm of the colonnade, treated as if in two stories (p. 53, No. 10) 52 XXXV. Interior of inner end of north arm of colonnade (p. 53, No. 11) 52 XXXVI. Plan and elevation of the Cortile di S. Damaso (p. 53, No. 12) 54 XXXVII. Fagade of St. Peter's, with both colonnades treated as if in two stories (p. 53, No. 13) . 54 XXXVTII. View looking east from the front of St. Peter's (p. 54, No. 14) 54 XXXIX. The Borgo, looking toward St. Peter's (p. 54, No. 15) 54 XL. Correlation of the Piazza with the Orb (p. 54, No. 16) 54 PLATES XLI-LI. PORTRAITS XLI. Sheik-el-Beled, statue of wood. Fourth Dynasty (p. 57) ; Boulak Museum, Cairo .... 58 PLATES xi HUMBJtB FACINQ PAOB XLII. Sheik-el-Beled, head of statue shown in plate XLI . 60 XLIII. Portrait, so-called Seipio type, now identified as priest of Isis (p. 57) ; Museum of Fine Arts, Boston . 64 XLIV. Pericles (p. 78) ; British Museum 66 XLV. So-called Menander (p. 82) ; Brandegee Collection . 72 XLVI. Periander (p. 82) ; Vatican Museum .... 74 XLVII. Unknown Roman, terra-cotta (p. 85) ; Museum of Fine Arts, Boston 78 XLVIII. Unknown old man, Roman (p. 85) ; Brandegee Collection 84 XLIX. Antoninus Pius (p. 88) ; Brandegee Collection . 86 L. Roman girl (p. 90) ; Museum of Fine Arts, Boston . 88 LI. Sabina ? (p. 90) ; Brandegee Collection .... 90 PLATES LII-LIX. PHEIDIAS AND MICHAEL ANGELO LII. Caryatid from the Erechtheum, Athens (p. 101) ; British Museum 96 LIII. Madonna and Child, by Michael Angelo (p. 116) ; Bruges 100 LIV. The Victor, by Michael Angelo (p. 116) ; National Mu- seum, Florence 106 LV. Bacchus with Satyr, by Michael Angelo (p. 116) ; Na- tional Museum, Florence 112 LVI. Eros, by Michael Angelo (p. 118) ; South Kensington Museum 118 LVII. Ares and other Divinities (p. 118)-, Frieze of the Parthe- non, Athens 124 LVIII. So-called Athena Medici (p. 119) ; Ecole des Beaux-Arts, Paris 126 LIX. Madonna and Child, by Michael Angelo, unfinished (p. 131) ; Church of S. Lorenzo, Florence . 130 PLATES LX, LXI. CYRENE ATHENA LX. Profile view of head (p. 135) ; Cyrene .... 136 LXI. Front view of head 144 PLATES LXII-LXIX. PAINTINGS BY GIORGIONE LXIL The Judgment of Solomon (p. 172) ; Kingston Lacy, England 162 LXIII. Adoration of the Magi, or Epiphany (p. 175) ; National Gallery, London . .168 BERNINI a I. AN ESTIMATE OF BERNINI During the last hundred years there has come a great change in the feeling of naost people towards the art of the different epochs of the Renaissance. Whereas our grand- fathers and our great-grandfathers held Carracci and Guido and others of the same time in high esteem, we are now .taught that these later men are of little value or interest in comparison with the artists of the fifteenth century, and even the most halting and stuttering " Primitive " is held of more worth than the more able masters of the seventeenth century. This change is natural enough, but betokens a lack of true understanding of the purpose and powers of the fine arts. The altered mental attitude in religious matters which ren- ders most people incapable of feeling the appeal of the mystical fervour of the seventeenth century explains in a measiire why the earlier work is preferred ; and added to this is the effect of the development of archaeological training which has given rise to an interest in the mere search for origins — search that has done infinite harm in blinding the eyes of students to the fact that, for the world at large, it is far more important to see whither life is carrying us than from what slow, groping, and inexplicable protoplasm and haphazard chance it sprung. The teachers of our universities go on in their dull round, like Dervishes, repeating that the Par- 3 ; 4 STUDIES thenon was the most perfect expression of Greek art, and there are those who cannot see the beauty of the silver vases from Boscoreale because they choose to call them Roman. With- out doubt there are many sound reasons for the purely ar- chaeological study of classic art, and recently a small but per- ceptive band of scholars has raised Roman art from the ignorant neglect into which it had fallen and given it the proper position due to any such able expression of great ideas this justifies the hope that the worth of the later Italian schools will become once more manifest, not again to be for- gotten.
Recommended publications
  • Der Raub Der Proserpina Studien Zur Ikonographie Und Ikonologie Eines
    Kunstgeschichte Der Raub der Proserpina Studien zur Ikonographie und Ikonologie eines Ovidmythos von der Antike bis zur frühen Neuzeit Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Westfälischen Wilhelms-Universität zu Münster (Westf.) vorgelegt von Christiane Brehm aus Unna 1996 Tag der mündlichen Prüfung: 12.07.1996 Dekan: Prof. Dr. K. Hortschansky Referent: Prof. Dr. H.-J. Raupp Korreferent: Prof. Dr. H. Wiegartz Meinen Eltern INHALTSVERZEICHNIS VORWORT 1 EINLEITUNG 2 1. Vorbemerkungen zum Thema der Arbeit 2 2. Problemstellung und Zielsetzung unter besonderer Berücksichtigung des gegenwärtigen Forschungsstandes 3 3. Methodik und Aufbau der Arbeit 6 I. LITERARISCHE ÜBERLIEFERUNG 9 1. Antike 9 1.1. Die Sage vom Raub der Proserpina in den Metamorphosen Ovids 9 1.2. Die attische Tradition 11 1.3. Die sizilische Tradition 12 2. Mittelalter 15 2.1. Zur Rezeption antiker Mythologie im Mittelalter 15 2.2. Pluto und die Unterwelt 16 2.2.1. Mythographische Literatur 17 2.2.1.1. Fabius Planciades Fulgentius, "Mitologiae" 17 2.2.1.2. Mythographus vaticanus III 18 2.2.1.3. John Ridewall, "Fulgentius Metaforalis" 18 2.2.1.4. Dante Alighieri, "Commedia divina" 19 2.2.1.5. Francesco Petrarca, "Africa" 20 2.2.1.6. Francesco Petrarca, "Trionfo d'amore" 21 2.2.1.7. Poetarius, "De deorum imaginibus libellus" 22 2.3. Der Raub der Proserpina 23 2.3.1. Apologetische Schriften 23 2.3.1.1. Iulius Firmicus Maternus, "De errore profanorum religionum" 23 2.3.1.2. Gregorios von Nazianz, "Oratio de sancta lumina" 24 2.3.2. Scholien 25 2.3.2.1.
    [Show full text]
  • JEWISH REVIEW of BOOKS Volume 5, Number 1 Spring 2014 $7.95
    The New Balaboosta, Khazar DNA & Agnon’s Lost Satire JEWISH REVIEW OF BOOKS Volume 5, Number 1 Spring 2014 $7.95 The Screenwriter & the Hoodlums Ben Hecht with Stuart Schoffman Ivan Marcus Rashi with Chumash Elliott Abrams Israel’s Journalist-Prophet Steven Aschheim The Memory Man Amy Newman Smith Expulsion Chick-Lit Gavriel D. Rosenfeld George Clooney, Historian NEW AT THE Editor CENTER FOR JEWISH HISTORY Abraham Socher Senior Contributing Editor Allan Arkush Art Director Betsy Klarfeld Associate Editor Amy Newman Smith Administrative Assistant Rebecca Weiss Editorial Board Robert Alter Shlomo Avineri Leora Batnitzky Ruth Gavison Moshe Halbertal Hillel Halkin Jon D. Levenson Anita Shapira Michael Walzer J. H.H. Weiler Leon Wieseltier Ruth R. Wisse Steven J. Zipperstein Publisher Eric Cohen Associate Publisher & Director of Marketing Lori Dorr NEW SPACE The Jewish Review of Books (Print ISSN 2153-1978, The David Berg Rare Book Room is a state-of- Online ISSN 2153-1994) is a quarterly publication the-art exhibition space preserving and dis- of ideas and criticism published in Spring, Summer, playing the written word, illuminating Jewish Fall, and Winter, by Bee.Ideas, LLC., 165 East 56th Street, 4th Floor, New York, NY 10022. history over time and place. For all subscriptions, please visit www.jewishreviewofbooks.com or send $29.95 UPCOMING EXHIBITION ($39.95 outside of the U.S.) to Jewish Review of Books, Opening Sunday, March 16: By Dawn’s Early PO Box 3000, Denville, NJ 07834. Please send notifi- cations of address changes to the same address or to Light: From Subjects to Citizens (presented by the [email protected].
    [Show full text]
  • JKV Offers All Residents and Staff Chance for COVID-19 Vaccination
    March 2021 Vol. 8, Number 12 A Life-Plan Continuing Care Retirement Community Published Monthly by John Knox Village • 651 S.W. Sixth Street, Pompano Beach, Florida 33060 In This Month’s Issue JKV Offers All Residents And Staff Thanks For Asking ............... 2 Chance For COVID-19 Vaccination Rescuing Europe’s Art ....... 3 Chef Mark’s In Good Taste Recipe ........................ 4 Book Review ..................... 4 Meet The Middletons .......... 5 Ask Kim About JKV ............ 6 The Stressless Move .......... 7 Food As Medicine ................. 8 The Curious Mind ................. 8 JKV staff members (L. to R.) Susanne Russell, Joanne Avis and Loli Pire-Schmidt check-in resident Andrea Hipskind for her initial COVID-19 vaccination on Jan. 19. In all, some 800 residents and employees received their first vaccinations that day. Marty Lee photo. Technology Training ............ 9 ver since December and the management team jumped into action to plan for this ma- JKV Expands ........................ 9 Marty Lee approval of both the Pfizer- jor health care event. Elders in the Meaningful Life homes Gazette Contributor E A General’s Thoughts ...... 10 BioNTech and Moderna COVID-19 including Assisted Living at Gardens West and Long-Term vaccines, people all over the nation Care in Seaside Cove and The Woodlands had already Find The Light ................. 10 have been seeking their turn for vaccinations. Subsequently, received their vaccinations, so the planning would involve the state of Florida prioritized persons 65 years of age and vaccinations for the entire community of more than 600 In- NSU Art Museum ............... 11 older, plus health care personnel with direct patient contact dependent Living residents and more than 600 employees.
    [Show full text]
  • The Holocaust Expropriated Art Recovery Act of 2016: an Ineffective Remedy for Returning Nazi-Looted Art
    THE HOLOCAUST EXPROPRIATED ART RECOVERY ACT OF 2016: AN INEFFECTIVE REMEDY FOR RETURNING NAZI-LOOTED ART SOFFIA H. KUEHNER GRAY* During World War II, the Third Reich engineered the “greatest art theft in history,” stealing over 650,000 works of art from across Europe. Nearly a century later, many of these works are still missing or have yet to be reunited with their prewar owners. Despite substantial efforts to both facilitate and expedite the restitution process, it still remains relatively difficult for individuals to reclaim art stolen from their families by the Na- zis during the war. This Note first examines the processes through which countries—in particular, the United States—have handled art restitution. This Note then analyzes the Holocaust Expropriated Art Recovery Act (“HEAR”) and its potential effectiveness in providing a suitable remedy to the victims of the Nazi art theft. Ultimately, this Note suggests several modifications to HEAR so that it provides an effective remedy to the victims while still pro- tecting the interests of good-faith purchasers. TABLE OF CONTENTS I. INTRODUCTION ........................................................................................364 II. BACKGROUND ..........................................................................................367 A. Terminology .....................................................................................367 1. Restitution .................................................................................367 2. Provenance ...............................................................................368
    [Show full text]
  • Michelangelo Buonarroti Artstart – 3 Dr
    Michelangelo Buonarroti ArtStart – 3 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Michelangelo • Renaissance era painter, sculptor, poet & architect • Best documented artist of the 16th century • He learned to work with marble, a chisel & a hammer as a young child in the stone quarry’s of his father • Born 6th March, 1475 in Caprese, Florence, Italy • Spent time in Florence, Bologna & Rome • Died in Rome 18th Feb 1564, Age 88 Painting education • Did not like school • 1488, age 13 he apprenticed for Domenico Ghirlandaio • 1490-92 attended humanist academy • Worked for Bertoldo di Giovanni Famous paintings of Michelangelo The Sistine Chapel Ceiling – (1508-12) Vatican, Rome Famous paintings of Michelangelo Doni Tondo (Holy Family) (1506) – Uffizi, Florence Famous paintings of Michelangelo The Creation of Adam (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo Ignudo (1509) – Vatican, Rome Famous paintings of Michelangelo The Drunkenness of Noah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Deluge - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The First day of creation - - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Prophet Jeremiah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Crucifixion of St. Peter - (1546-50) – Vatican, Rome Only known Self Portrait Famous paintings of Michelangelo
    [Show full text]
  • The Diary of Heinrich Witt
    The Diary of Heinrich Witt Volume 2 Edited by Ulrich Mücke LEIDEN | BOSTON Ulrich Muecke - 9789004307247 Downloaded from Brill.com10/10/2021 09:30:38PM via free access [1] [2] Volume the second Commenced in Lima October the 9th 1867 Tuesday, 24th of January 1843. At 10 Oclock a.m. I started for Mr. Schutte’s silver mine of Orcopampa, my party was rather numerous; it consisted of course of myself on mule back with a led beast for change, the muleteer Delgado, his lad Mateo, both mounted, an Indian guide on foot named Condor, and seven mules laden with various articles for the mine as well as some provisions for myself, two or three fowls, half a sheep, potatoes, bread, salt, and sugar, also some sperm candles, and a metal candlestick. The mules carried each a load from eight to nine arrobes, besides four arrobes the weight of the gear and trappings. I may as well say en passant that I carried the above various articles of food because I had been assured that on this route I should find few eatables. I, accustomed to the ways and habits of the Sierra, saw nothing particular in the costume of my companion, nevertheless I will describe it, the muleteers wore ordinary woollen trowsers, and jackets, a woollen poncho over the shoulders, Chilian boots to the legs, shoes to their feet, but with only a single spur, on the principle that if one side of the animal moved the other could not be left behind; their head covering was a Guayaquil straw hat, underneath it Delgado wore a woollen cap, also round his neck a piece [_] jerga, for the purpose of blind folding his beasts when loading [_] a second piece round his waist the two ends of which [_] [3] and preserved his trowsers.
    [Show full text]
  • Motion As Lust in Bernini's Apollo and Daphne
    Motion as Lust in Bernini’s Apollo and Daphne BY DANIEL WHITTEN The artists of the Renaissance era faced a very delicate challenge in the interpretation of classical myths, as this required the interpreter to be faithful to both pagan literature and Christian orthodoxy. Specifically, these authors sought to reconcile the seeds of Christian morality within pagan works with both the original context and the truth of revealed religion. Gian Lorenzo Bernini, Italian artist and architect, follows this tradition in his sculptural adaptation of Ovid’s “Apollo and Daphne.”1 Bernini juxtaposes the concepts of motion and stability in the sculpture to convey the unstable nature of lust compared with the solidity of love. From a standpoint steeped in a Christian tradition that associates motion with lust and has a tradition of moralizing interpretations of Ovid, Bernini emphasizes the moralizing aspects of the myth; he implies a Christianized chronology of events both before and after the moment he sculpts. This portrayal aligns well with the ecclesiastical position of his patron, Cardinal Borghese, and earns a moralizing epitaph from the future Pope Urban VIII. The association of lust with motion is deeply rooted in the Christian theological tradition. This theology sees lust as the impetus for unhealthy motion within the soul and body of the sinner. St. Augustine writes, “And this lust not only takes possession of the whole body and outward members, but also makes itself felt within, and moves the whole man with a 1 See appendix, fig. 1, fig. 2. Valley Humanities Review Spring 2014 1 passion in which mental emotion is mingled with bodily appetite.”2 Dante interprets this view vividly in the Inferno, where “the carnal sinners, who subject reason to lust” are punished.
    [Show full text]
  • Biographical Dates
    BIOGRAPHICAL DATES 1475 March 6, born in the village of Caprese in Tuscany, second son of Lodovico (1444-1531) and Francesca. Lodovico, grandson of a successful banker and son of an unsuccessful banker in Florence, lived on a small income from land and occasional government posts; at this time he was Podesta (governor) of Caprese. March 31, Lodovico's term expired; the family doubtless returned to Florence. The oldest son, Lionardo (1473-1510) entered the Dominican order in Pisa in 1491 and played virtually no part in Michelangelo's life. 1477 May 26, brother Buonarroto bom. 1479 March 11, brother Giovansimone born. 1481 January 22, brother Gismondo bom. About this time the family was living in an apartment rented from Lodovico's brother-in-law, a dyer. December 6, mother died. 1485 Father's second marriage to Lucrezia Ubaldini (d. M97)- 1488 April 8, Michelangelo left grammar school and was apprenticed for three years to the painter Domenico Ghirlandaio. MICHELANGELO [1] 1489 Left Ghirlandaio and studied sculpture in the gar- den of Lorenzo de' Medici the Magnificent. 1492 Lorenzo the Magnificent died, succeeded by his old- est son Piero. 1494 Rising against Piero de' Medici, who fled (d. 1503). Republic re-established under Savonarola. October, Michelangelo fled and after a brief stay in Venice went to Bologna. 1495 In Bologna, carved three small statues which brought to completion the tomb of St. Dominic. Returned to Florence, carved the Cupid, sold to Baldassare del Milanese, a dealer. 1496 June, went to Rome. Carved the Bacchus for the banker Jacopo Galli. 1497 November, went to Carrara to obtain marble.
    [Show full text]
  • Renaissance Magic and Alchemy in the Works of Female Surrealist Remedios Varo
    RENAISSANCE MAGIC AND ALCHEMY IN THE WORKS OF FEMALE SURREALIST REMEDIOS VARO ____________ A Thesis Presented to the Faculty of California State University, Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Tammy M. Ngo Fall 2019 THESIS: RENAISSANCE MAGIC AND ALCHEMY IN THE WORKS OF FEMALE SURREALIST REMEDIOS VARO AUTHOR: TAMMY M. NGO APPROVED: ______________________________ Patricia Gamon, Ph.D Thesis Committee Chair ______________________________ Kirstin Ellsworth, Ph.D Committee Member ______________________________ Kimberly Bohman-Kalaja, Ph.D Committee Member Dedicated to Professor Lawrence Klepper ACKNOWLEDGEMENTS I would like to express my special thanks of gratitude to my advisor Professor Patricia Gamon, Ph.D., Humanities, Art History. In addition, to my family and friends who supported me during my thesis research, thank you. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................................................... IV TABLE OF CONTENTS ................................................................................................................ V LIST OF FIGURES ...................................................................................................................... VI ABSTRACT .................................................................................................................................... X 1. INTRODUCTION ....................................................................................................................1
    [Show full text]
  • The Form of the Fiend. Maxi.Mtliax Rldwix
    me OPEN COURT Devoted to the Science of Religion, the Reh'gion of Science, and the Exten- sion of the Religious Parliament Idea FOUNDED BY EDWARD C. HEGELER JUNE, 1929 VOLUME XLIII NUMBER 877 Trice 20 Cents UBe Open Court Publishing Company Wieboldt Hall, 339 East Chicago Avenue Chicago, Illinois — — THE UNIVERSITY OF CHICAGO PRESS 5750 ELLIS AVE., CHICAGO THE AMERICAN PHILOSOPHY OF EQUALITY By T, V, Smith Equality, in its present vague statils, has lost much of the meaning that the founders of this country attached to it. In this book Mr. Smith has set out, in effect, to rescue from oblivion u^hatever truth the earlier doctrine contained. "Professor Smith writes as a philosopher and an historian. His reasoning is sound, his information accurate and his style clear and virile. The volume is a notable contribution to our political philosophy." The T^ew Republic. _ ^3.00, postpaid ^3.15 THE DEMOCRATIC WAY OF LIFE By T, V, Smith T. V. Smith in this book re'cndows "Liberty, Equality, Fraternity," slogans of a goal that has never been reached—with some of the spirit of the days when they were magic words. Here is a brilliant commentary upon democracy as a way of life. ^1.75) postpaid ^1.85 AESTHETICS OF THE NOVEL By Van Meter Ames The fact that there is a decided relationship between literature and philoso' phy has been singularly ignored by past writers. Mr. Ames, believing that literary criticism cannot be sound unless it is placed on a philosophical basis, in this book has successfully correlated both subjects.
    [Show full text]
  • The Fifteenth-Anniversary Season: the Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fifteenth-Anniversary Season: The Glorious Violin July 14–August 5, 2017 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, itness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE 4290 Bistro features creative dishes from our Executive Chef and Culinary Team. Our food is a fusion of Asian Flavors using French techniques while sourcing local ingredients. TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo The Glorious Violin the fifteenth-anniversary season July 14–August 5, 2017 DAVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 The Glorious Violin Program Overview 6 Essay: “Violinists: Old Time vs. Modern” by Henry Roth 10 Encounters I–V 13 Concert Programs I–VII Léon-Ernest Drivier (1878–1951). La joie de vivre, 1937. Trocadero, Paris, France. Photo credit: Archive 41 Carte Blanche Concerts I–V Timothy McCarthy/Art Resource, NY 60 Chamber Music Institute 62 Prelude Performances 69 Koret Young Performers Concerts 72 Master Classes 73 Café Conversations 74 The Visual Arts at Music@Menlo 75 Music@Menlo LIVE 76 2017–2018 Winter Series 78 Artist and Faculty Biographies 90 Internship Program 92 Glossary 96 Join Music@Menlo 98 Acknowledgments 103 Ticket and Performance Information 105 Map and Directions 106 Calendar www.musicatmenlo.org 1 2017 Season Dedication Music@Menlo’s ifteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • MASTERS of ART by Courtesy of the National Galleries 1680
    Here, his most famous works are housed. Capra 11 Palazzo Montecitorio 14 Ponte Sant’Angelo 1 Chiesa di Santa Bibiana 4 Galleria Nazionale d’Arte Amaltea (1615) is one of Bernini first sculptures, 16 Monumento a Beata Ludovica followed by Aeneas, Anchises and Ascanius Piazza di Monte Citorio Lungotevere Vaticano Via Giovanni Giolitti, 154 Antica - Palazzo Barberini (1618-19), the Rape of Proserpina (1622), Apollo Albertoni Now the seat of the Chamber of Deputies, Palazzo Saint Angel bridge less famous second name is On the occasion of the jubilee in 1625 and just Via delle Quattro Fontane, 13 and Daphne (1622-25) and David (1623). They all Chiesa di San Francesco a Ripa Montecitorio (1653) was commissioned by pope Pons Hadriani, from the name of the emperor after Santa Bibiana’s remains were miraculously represent the best of Bernini’s virtuous skills to Piazza di San Francesco d’Assisi, 88 It was built in 1625. It was conceived as a real Innocent X Pamphilj as wedding present for his Hadrian that commissioned it. It is adorned found, Bernini was called to restore the facade express the pathos of human soul by twisting villa in the city centre to host the pope’s family. nephew Camillo Ludovisi. Bernini designed a by splendid statues of angels made by Bernini On the occasion of the beatification ceremony of Santa Bibiana’s church. It is considered his the bodies and giving an intense expressiveness It is the result of the cooperation between building with a convex polygonal front in order together with his students, who were believed of the nun Ludovica Albertoni, member of the first architecture work as well asSanta Bibiana’s to the faces.
    [Show full text]