2020 ACF Fall Packet B by Mcmaster A, NYU A, UNC B Edited by Ben
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HNA April 11 Cover-Final.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Petrarch and Boccaccio Mimesis
Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The -
Peter Paul Rubens and Jan Brueghel, the Garden of Eden with the Fall of Man (1617)
Lenten Quiet Day 2017 | S. Stephen’s, Providence The Good, The True, & the Beautiful: Lost and Won on the Wood of a Tree Peter Paul Rubens and Jan Brueghel, The Garden of Eden with the Fall of Man (1617) ow the serpent was more subtle than any other wild creature that the Lord God had made. He said to the woman, N“Did God say, ‘You shall not eat of any tree of the garden’?” 2 And the woman said to the serpent, “We may eat of the fruit of the trees of the garden; 3 but God said, ‘You shall not eat of the fruit of the tree which is in the midst of the garden, neither shall you touch it, lest you die.’” 4 But the serpent said to the woman, “You will not die. 5 For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.” 6 So when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of its fruit and ate; and she also gave some to her husband, and he ate. 7 Then the eyes of both were opened, and they knew that they were naked; and they sewed fig leaves together and made themselves aprons. Genesis 3.1-7 The fool has said in his heart, “There is no God.” * We think that Paradise and Calvarie, All are corrupt and commit abominable acts; Christs Cross and Adams tree, stood in one place; there is none who does any good. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
Mind, Mountain, and History Author(S): Walther Kirchner Reviewed Work(S): Source: Journal of the History of Ideas, Vol
Mind, Mountain, and History Author(s): Walther Kirchner Reviewed work(s): Source: Journal of the History of Ideas, Vol. 11, No. 4 (Oct., 1950), pp. 412-447 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/2707590 . Accessed: 01/02/2012 07:19 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]. University of Pennsylvania Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of the History of Ideas. http://www.jstor.org MIND, MOUNTAIN, AND HISTORY BY WALTHER KIRCHNER I. The Classical Spirit In the course of history, man's attitude toward mountains has not been static; it has changed, perhaps in accord with the pulse of his development, and a Spengler might well have been able to trace parallel, "contemporary" feelings in man at given stages of each civilization. However, in our present study we shall not undertake the wider investigation, but confine ourselves to the rhythm in western civilization and in its chief ancestors, the Judaic, Hellenic, and Roman worlds. For the Jews, as for Assyrians, Babylonians, Persians, Indians, and many other peoples, the early relations of man and nature must be traced against a religious background, and mountains must be considered within this general setting.' They are the seats of the Gods. -
June 23, 2006 for IMMEDIATE RELEASE PREMIERE PRESENTATION
DATE: Friday, June 23, 2006 FOR IMMEDIATE RELEASE PREMIERE PRESENTATION EXHIBITION EXPLORES THE PROFESSIONAL EXCHANGES AND CLOSE FRIENDSHIP BETWEEN TWO GREAT 17th-CENTURY MASTERS Rubens and Brueghel: A Working Friendship At the J. Paul Getty Museum, the Getty Peter Paul Rubens (Flemish, 1577-1640) and Jan Brueghel the Elder Center, July 5–September 24, 2006 (Flemish, 1568-1625) The Return from War: Mars Disarmed by Venus, about 1610–1612 Oil on panel 127.3 x 163.5 cm (50 1/8 x 64 3/8 in.) The J. Paul Getty Museum, Los Angeles, California, acquired in honor of John Walsh. 2000.68 LOS ANGELES—One of the greatest artistic partnerships in history—between Peter Paul Rubens (1577–1640) and Jan Brueghel the Elder (1568–1625)—will be explored in Rubens and Brueghel: A Working Friendship, at the J. Paul Getty Museum, the Getty Center, July 5–September 24, 2006. This Premiere Presentation is the first major international loan exhibition devoted to the collaborative works of Rubens and Brueghel, and is one of the J. Paul Getty Museum’s most important shows of the year. It will feature the largest group of paintings by the two 17th-century masters ever seen together, examining their professional partnership, personal friendship, and unique collaborative process. Rubens and Brueghel: A Working Friendship has been organized by the J. Paul Getty Museum and the Royal Picture Gallery Mauritshuis. Following its showing at -more- Page 2 the Getty Center in Los Angeles, the exhibition will be presented at the Mauritshuis, The Hague, Netherlands, from October 21, 2006–January 28, 2007. -
Dryden's the State of Innocence and Fall of Man, an Operatic Version of Paradise Lost
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2006 Forbidden Fruit: Dryden's The State of Innocence And Fall of Man, An Operatic Version of Paradise Lost Devane King Middleton Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Recommended Citation Middleton, Devane King, "Forbidden Fruit: Dryden's The State of Innocence And Fall of Man, An Operatic Version of Paradise Lost" (2006). Electronic Theses and Dissertations. 167. https://digitalcommons.georgiasouthern.edu/etd/167 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. FORBIDDEN FRUIT: DRYDEN’S THE STATE OF INNOCENCE AND FALL OF MAN , AN OPERATIC VERSION OF PARADISE LOST by DEVANE KING MIDDLETON (Under the Direction of Candy B. K. Schille) ABSTRACT Ever since Dryden published his opera The State of Innocence , critics have speculated about his reasons for making a stage adaptation of Milton’s Paradise Lost . The fact that Dryden worked for Milton in Cromwell’s government may have been a factor. Dryden’s Puritan indoctrination during childhood, followed by influences from a royalist schoolmaster in his teenage years, makes the answer to the question somewhat more complex, as does the fact that the play, its source a Puritan epic adapted by an Anglican royalist poet, is dedicated to the Catholic bride of James, Duke of York and brother to Charles II. -
Women Artists and Female Imagery in EARLY MODERN EUROPE
SECOND EDITION POLITICALLY INCORRECT Women Artists and Female Imagery IN EARLY MODERN EUROPE GINA STRUMWASSER California State University, Fresno Bassim Hamadeh, CEO and Publisher Michael Simpson, Vice President of Acquisitions and Sales Jamie Giganti, Senior Managing Editor Miguel Macias, Graphic Designer Kristina Stolte, Senior Field Acquisitions Editor Natalie Lakosil, Licensing Manager Claire Yee, Interior Designer Copyright © 2016 by Cognella, Inc. All rights reserved. No part of this publication may be reprinted, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfi lming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. First published in the United States of America in 2016 by Cognella, Inc. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Cover image copyright in the Public Domain. Printed in the United States of America ISBN: 978-1-63189-023-9 (pbk) / 978-1-63189-024-6 (br) CONTENTS Dedication ............................................................................... ix List of Illustrations ...................................................................xi PART 1: CREATIVITY xviii Production of Art .....................................................................1 Introduction ................................................................................ -
The Leiden Collection
Emperor Commodus as Hercules ca. 1599–1600 and as a Gladiator oil on panel Peter Paul Rubens 65.5 x 54.4 cm Siegen 1577 – 1640 Antwerp PR-101 © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 2 of 11 How To Cite Van Tuinen, Ilona. "Emperor Commodus as Hercules and as a Gladiator." InThe Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 3 of 11 Peter Paul Rubens painted this bold, bust-length image of the eccentric Comparative Figures and tyrannical Roman emperor Commodus (161–92 A.D.) within an illusionistic marble oval relief. In stark contrast to his learned father Marcus Aurelius (121–80 A.D.), known as “the perfect Emperor,” Commodus, who reigned from 180 until he was murdered on New Year’s Eve of 192 at the age of 31, proudly distinguished himself by his great physical strength.[1] Toward the end of his life, Commodus went further than any of his megalomaniac predecessors, including Nero, and identified himself with Hercules, the superhumanly strong demigod of Greek mythology famous for slaughtering wild animals and monsters with his bare hands. According to the contemporary historian Herodian of Antioch (ca. -
Petrarch's Ascent of Mont Ventoux and Philosophy*
ARCHIWUM HISTORII FILOZOFII I MYŚLI SPOŁECZNEJ • ARCHIVE OF THE HISTORY OF PHILOSOPHY AND SOCIAL THOUGHT VOL. 64/2019 • ISSN 0066–6874 DOI: 10.37240/AHFiMS.2019.64.5 Tomáš Nejeschleba Petrarch’s Ascent of Mont Ventoux and Philosophy* Dedicated to Paul Richard Blum on the occasion of his 70th birthsday ABSTRACT: The aim of the paper is to determine the philosophical meaning of Francesco Petrarch’s famous letter addressed to Dionigi da Borgo San Sepolcro, dated in the year 1336. The letter, which describes Petrarch’s ascent of Mont Ventoux and his experience on the summit allows for multiple interpretations. Similarly to the interpretation of Petrarch’s entire work, the literary context has been emphasized and the philosophical meaning of the letter has been somewhat neglected. Different philosophical interpretations are discussed in the paper. Petrarch’s catch-phrase “desire to see” as the poet’s motivation of the venture is the starting point for the most. Apart from the popular alpinist context, which is doubt- ful, the letter was considered as the beginning of the aestetisation of the landscape or as the emergence of the subject-object philosophical paradigm. The symbolic and metaphoric understanding of physical and spiritual ways is another interpretation level of the letter. Finally, the letter can be viewed as an expression of a general philosophical attitude to the world. KEYWORDS: Francesco Petrarca • Renaissance Philosophy • Mont Ventoux he aim of this article is to determine the philosophical meaning of T Francesco Petrarch’s celebrated letter concerning the ascent of the mountain Mont Ventoux, dated 26 April 1336. -
Ribera's Drunken Silenusand Saint
Durham Research Online Deposited in DRO: 19 July 2019 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Payne, Edward (2017) 'Naples in esh and bones : Ribera's drunken silenus and Saint Jerome.', Open Arts journal. (6). pp. 99-113. Further information on publisher's website: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). -
Counter-Reformation Agenda in the Paintings of the Virgin Mary
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2011 Counter-Reformation agenda in the paintings of the Virgin Mary. Sharon Lynne Heaphy 1987- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Heaphy, Sharon Lynne 1987-, "Counter-Reformation agenda in the paintings of the Virgin Mary." (2011). Electronic Theses and Dissertations. Paper 595. https://doi.org/10.18297/etd/595 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY By Sharon Lynne Heaphy A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Fulfillment of the Requirements For the Degree of Master of Fine Arts Department of Art History University of Louisville Louisville, Kentucky May 2011 COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY By Sharon Lynne Heaphy A Thesis Approved on April 15, 2011 by the following Thesis Committee Thesis Director (Christopher B. Fulton) Susan Jarosi Julia Dietrich ii ABSTRACT COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY Sharon Lynne Heaphy April 15,2011 This paper investigates the objectives ofCounter-Refonnation leaders as seen through the visual culture of the Virgin Mary in the time period.