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Saint Sebastian
SAINT SEBASTIAN In his semi-autobiographical novel Confessions of a Mask, the Japanese writer Yukio Mishima described his sexual awakening as a young boy when he came upon a reproduction of the martyrdom of Saint Sebastian, a painting by the late Renaissance artist Guido Reni. The event is transferred to the fictional narrator, but recalled the actual event that had proved so formative for Mishima. A remarkably handsome youth was bound naked to the trunk of a tree. His crossed hands were raised high, and the thongs binding his wrists were tied to the tree. No other bonds were visible, and the only covering for the youth's nakedness was a coarse white cloth knotted loosely about his loins... Were it not for the arrows with their shafts deeply sunk into his left armpit and right side, he would seem more a Roman athlete resting from fatigue... The arrows have eaten into the tense, fragrant, youthful flesh, and are about to consume his body from within with flames of supreme agony and ecstasy.' The boy's hands embarked on a motion of which he had no experience; he played with his 'toy': "Suddenly it burst forth, bringing with it a blinding intoxication... Some time passed, and then, with miserable feelings I looked around the desk I was facing... There were cloud-splashes about... Some objects were dripping lazily, leadenly, and others gleamed dully, like the eyes of a dead fish. Fortunately, a reflex motion of my hand to protect the picture had saved the book from being soiled. The martyrdom of Saint Sebastian would prove to be a pivotal theme in Mishima’s life and art to which he would return time and time again. -
Saint Sebastian of Rome
Saint Sebastian of Rome This weekly bulletin insert complements the curriculum published by the Department of Christian Education of the Orthodox Church in America. This and many other Christian Education resources are available at http://dce.oca.org. The Orthodox Church commemorates a martyr-saint we have in common with the Western Church. Most tourists in Rome, especially religious pilgrims, will visit a church or basilica named for Saint Sebastian, either the one on the Palatine Hill or the earlier fourth-century one built outside the Aurelian Walls. Sebastian, raised in Milan, was an ardent Christian from an early age. Though completely disinclined to military life, he knew that Christians were being persecuted, especially those in military service. He joined the army in about the year 283, intending to comfort and encourage his brothers in the faith. His help was soon needed by two brothers, Marcus and Marcellianus, who had been sentenced to death. Their faith was wavering, both from fear and because of the tearful pleadings of friends that they should not squander their lives. Sebastian gently but eloquently urged them not to exchange heavenly crowns for a longer earthly life. He spoke so powerfully that the jailer and many others who overheard were converted. The Roman governor learned of this and also was told that a man had been cured of gout while being instructed and prepared for baptism. The governor, who suffered greatly from gout, humbly asked the saint to cure him as well. After receiving healing and Christian instruction he not only was baptized with his son Tiburtius, but liberated the Christian prisoners, freed his own slaves and gave up his government position. -
The Arts Thrive Here
Illustrated THE ARTS THRIVE HERE Art Talks Vivian Gordon, Art Historian and Lecturer at the Metropolitan Museum of Art, will present the following: REMEMBERING BIBLICAL WOMEN ARTISTS IN THEIR STUDIOS Monday, April 13, at 1PM Wednesday, May 20, at 1PM Feast your eyes on some of the most Depicting artists at work gives insight into the beautiful paintings ever. This illustrated talk will making of their art as well as their changing status examine how and why biblical women such as in society.This visual talk will show examples Esther, Judith, and Bathsheba, among others, from the Renaissance, the Impressionists, and were portrayed by the “Masters.” The artists Post-Impressionists-all adding to our knowledge to be discussed include Mantegna, Cranach, of the nature of their creativity and inspiration. Caravaggio, Rubens, and Rembrandt. FINE IMPRESSIONS: CAILLEBOTTE, SISLEY, BAZILLE Monday, June 15, at 1PM This illustrated lecture will focus on the work of three important (but not widely known) Impressionist painters. Join us as Ms. Gordon introduces the art, lives and careers of these important fi gures in French Impressionist art. Ines Powell, Art Historian and Educator at the Metropolitan Museum of Art, will present the following: ALBRECHT DURER and HANS HOLBEIN the ELDER Thursday, April 23, at 1PM Unequaled in his artistic and technical execution of woodcuts and engravings, 16th century German artist Durer revolutionized the art world, exploring such themes as love, temptation and power. Hans Holbein the Elder was a German painter, a printmaker and a contemporary of Durer. His works are characterized by deep, rich coloring and by balanced compositions. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca. -
Honthorst, Gerrit Van Also Known As Honthorst, Gerard Van Gherardo Della Notte Dutch, 1592 - 1656
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Honthorst, Gerrit van Also known as Honthorst, Gerard van Gherardo della Notte Dutch, 1592 - 1656 BIOGRAPHY Gerrit van Honthorst was born in Utrecht in 1592 to a large Catholic family. His father, Herman van Honthorst, was a tapestry designer and a founding member of the Utrecht Guild of St. Luke in 1611. After training with the Utrecht painter Abraham Bloemaert (1566–1651), Honthorst traveled to Rome, where he is first documented in 1616.[1] Honthorst’s trip to Rome had an indelible impact on his painting style. In particular, Honthorst looked to the radical stylistic and thematic innovations of Caravaggio (Roman, 1571 - 1610), adopting the Italian painter’s realism, dramatic chiaroscuro lighting, bold colors, and cropped compositions. Honthorst’s distinctive nocturnal settings and artificial lighting effects attracted commissions from prominent patrons such as Cardinal Scipione Borghese (1577–1633), Cosimo II, the Grand Duke of Tuscany (1590–1621), and the Marcheses Benedetto and Vincenzo Giustiniani (1554–1621 and 1564–1637). He lived for a time in the Palazzo Giustiniani in Rome, where he would have seen paintings by Caravaggio, and works by Annibale Carracci (Bolognese, 1560 - 1609) and Domenichino (1581–-1641), artists whose classicizing tendencies would also inform Honthorst’s style. The contemporary Italian art critic Giulio Mancini noted that Honthorst was able to command high prices for his striking paintings, which decorated -
“The Concert” Oil on Canvas 41 ½ by 52 ½ Ins., 105.5 by 133.5 Cms
Dirck Van Baburen (Wijk bij Duurstede, near Utrecht 1594/5 - Utrecht 1624) “The Concert” Oil on canvas 41 ½ by 52 ½ ins., 105.5 by 133.5 cms. Dirck van Baburen was the youngest member of the so-called Utrecht Caravaggisti, a group of artists all hailing from the city of Utrecht or its environs, who were inspired by the work of the famed Italian painter, Caravaggio (1571-1610). Around 1607, Van Baburen entered the studio of Paulus Moreelse (1571- 1638), an important Utrecht painter who primarily specialized in portraiture. In this studio the fledgling artist probably received his first, albeit indirect, exposure to elements of Caravaggio’s style which were already trickling north during the first decade of the new century. After a four-year apprenticeship with Moreelse, Van Baburen departed for Italy shortly after 1611; he would remain there, headquartered in Rome, until roughly the summer of 1620. Caravaggio was already deceased by the time Van Baburen arrived in the eternal city. Nevertheless, his Italian period work attests to his familiarity with the celebrated master’s art. Moreover, Van Baburen was likely friendly with one of Caravaggio’s most influential devotees, the enigmatic Lombard painter Bartolomeo Manfredi (1582-1622). Manfredi and Van Baburen were recorded in 1619 as living in the same parish in Rome. Manfredi’s interpretations of Caravaggio’s are profoundly affected Van Baburen as well as other members of the Utrecht Caravaggisti. Van Baburen’s output during his Italian sojourn is comprised almost entirely of religious paintings, some of which were executed for Rome’s most prominent churches. -
Programme for Beyond Caravaggio
BEYOND CARAVAGGIO AN ACADEMIC CONFERENCE ABOUT CARAVAGGIO AND HIS LEGACY Sainsbury Wing Lecture Theatre National Gallery, London Thursday 17 November 10–10.30am Registration 10.30am Welcome: Letizia Treves, Curator of Italian and Spanish Paintings, 1600–1800, the National Gallery 10.40–11.25am Keynote lecture: Richard Spear, ‘Caravaggiomania’ 11.25–11.50am John Gash, ‘Caravaggesque Paintings in Britain and Ireland: Curiosities and Conundrums’ 11.50am–12.15pm Maria Cristina Terzaghi, ‘Orazio and Artemisia Gentileschi in London’ 12.15–12.45pm Q&A 12.45–2pm Lunch (not provided) 2–2.25pm Laura Teza, ‘The Boy Peeling Fruit: The First Painting by Caravaggio’ 2.25–2.50pm Helen Langdon, ‘Caravaggio's Cardsharps: Gamesters and Gypsies in Britain’ 2.50–3.15pm Antonio Ernesto Denunzio, ‘“Il a toute la manière de Michel Angelo Caravaggio et s'est nourry longtemps avec luy”: Finson and Caravaggio, Naples 1606–10’ 3.15–3.45pm Tea & coffee break 3.45–4.10pm Simone Mancini, ‘Caravaggio's Taking of Christ: Advanced Research with Infrared Multispectral Imaging’ 4.10–4.35pm Dean Yoder, ‘The Crucifixion of Saint Andrew in Cleveland: Caravaggio’s Painting Technique Revealed through Conservation’ 4.35–5pm Adam Lowe, ‘Remaking Caravaggio’s Lost Nativity for the Oratorio di San Lorenzo, Palermo’ 5–5.15pm Larry Keith, ‘Further Thoughts on the National Gallery’s paintings by Caravaggio’ 5.15–5.30pm Q&A / Closing remarks This conference is generously supported by Moretti Fine Art Ltd. BEYOND CARAVAGGIO AN ACADEMIC CONFERENCE ABOUT CARAVAGGIO AND HIS LEGACY Sainsbury -
The Powers of Horror in “The Love Song of St. Sebastian”
THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS A Thesis Presented to the faculty of the Department of English California State University Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in English (Literature) by Brendan Michael Johnston SPRING 2012 ©2012 Brendan Michael Johnston ALL RIGHTS RESERVED ii THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS A Thesis by Brendan Michael Johnston Approved by: _______________________________, Committee Chair Dr. Joshua McKinney _______________________________, Second Reader Dr. Bradley Buchanan ______________________________ Date iii Student: Brendan Michael Johnston I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. ________________________, Graduate Coordinator ____________________ Dr. David Toise Date Department of English iv Abstract of THE POWERS OF HORROR IN “THE LOVE SONG OF ST. SEBASTIAN” AND “THE DEATH OF SAINT NARCISSUS”: A STUDY OF ABJECTION AND JOUISSANCE IN T. S. ELIOT’S EARLY MARTYR POEMS by Brendan Michael Johnston The purpose of this essay is to perform a close examination of two of T. S. Eliot’s early, uncollected poems, entitled “The Love Song of St. Sebastian” and “The Death of Saint Narcissus.” One of the problems that arises in an appraisal of these poems is that they rest uneasily alongside his more prominent texts. -
Saint Sebastian
Saint Sebastian This article is about the Christian saint and martyr. For the United States Navy ship, see USS St. Sebastian (SP-470). “Saint Sebastien” redirects here. For other uses, see Saint-Sébastien (disambiguation). Saint Sebastian (died c. 288) was an early Christian saint and martyr. He was killed during the Roman em- peror Diocletian's persecution of Christians. He is com- monly depicted in art and literature tied to a post or tree and shot with arrows. Despite this being the most com- mon artistic depiction of Sebastian, he was, according to legend, rescued and healed by Irene of Rome. Shortly af- terwards he criticized Diocletian in person and as a result was clubbed to death.[1] He is venerated in the Catholic and Orthodox Churches. The details of Saint Sebastian’s martyrdom were first spoken of by 4th-century bishop Ambrose of Milan (Saint Ambrose), in his sermon (number 22) on Psalm 118. Ambrose stated that Sebastian came from Milan and that he was already venerated there at that time. Saint Sebastian is a popular male saint, especially among soldiers.[2][3] 1 Life Saint Sebastian Interceding for the Plague Stricken,[4] Josse Lieferinxe, 1497–1499, The Walters Art Museum According to Sebastian’s 18th century entry in Acta Sanc- torum,[5] still attributed to Ambrose by the 17th century hagiographer Jean Bolland, and the briefer account in the then brought the rest of the prisoners; these 16 persons 14th century Legenda Aurea, he was a man of Gallia Nar- were also converted by Sebastian.[6] bonensis who was taught in Milan and appointed a captain Chromatius and Tiburtius converted; Chromatius set all of the Praetorian Guard under Diocletian and Maximian, of his prisoners free from jail, resigned his position, and who were unaware that he was a Christian. -
Technical Art History Colloquium
TECHNICAL ART HISTORY COLLOQUIUM ‘The Calling of St. Matthew’ (1621) by Hendrick ter Brugghen. Centraal Museum, Utrecht The Technical Art History Colloquium is organised by Sven Dupré (Utrecht University and University of Amsterdam, PI ERC ARTECHNE), Arjan de Koomen (University of Amsterdam, Coordinator MA Technical Art History) and Abbie Vandivere (Paintings conservator, Mauritshuis, The Hague & Vice-Program Director MA Technical Art History). Monthly meetings take place on Thursdays, alternately in Utrecht and Amsterdam. The fifth edition of the Technical Art History Colloquium will be held at the Centraal Museum Utrecht, in connection with the upcoming exhibition Caravaggio, Utrecht and Europe. Liesbeth M. Helmus (Curator of old masters, Centraal Museum Utrecht) will present preliminary results of technical research on paintings by Dirck van Baburen and Hendrick ter Brugghen. Marco Cardinali (Technical art historian at Emmebi Diagnostica Artistica, Rome and visiting professor at the Stockholm University and UNAM-Mexico City) will present — as co-editor and curator of the scientific research — the recently published Caravaggio. Works in Rome. Technique and Style (2016). The result of an ambitious project launched in 2009 and funded by the National Committee for the Celebrations of the Fourth Centenary of the Death of Caravaggio, this book sheds light on Caravaggio’s pictorial methods through technical research on twenty- two unquestionably original works in Rome. Date: September 22, 2016 Time: 14:00 – 16:00 (presentations) — 16:00 – 17:00 (possibility to visit the museum) Location: Centraal Museum, Agnietenstraat 1, Utrecht — Aula Admission free Caravaggio’s Painting Technique and the Art Critique. A Technical Art History Marco Cardinali The recently published book Caravaggio. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
Learn About the Saint Sebastian
Saint of the Week Series Feast Day: January 20 Symbol: arrows Patronage: Athletes, Soldiers, and Plague Victims Death: 288 CE Saint Sebastian Not much known about Sebastian’s birth or early childhood. What we do know about Sebastian comes from Saint Ambrose of Milan, the city that he allegedly came from, whether that be by birth or in his military training. He was recorded as joining the Roman Army from there in 283 CE as a practicing, but secret, Christian, as Christianity was illegal at this time. He served in the Proletarian Guard under Emperor Diocletian, a notorious anti-Christian. In his time serving in the army, Sebastian helped many Christians who were being persecuted. Notably, during his time serving on the Proletarian Guard, Marcus and Marcellian were revealed to be Christian deacons when they refused to make sacrifices to the Roman Gods. Their parents came to visit them as they awaited execution to convince them to renounce their Christian God in order to save their own lives. Rather than the two giving into temptation, Sebastian converted the parents to Christianity. Three years into his service in the military, Sebastian was discovered to be a Christian by the Emperor. Emperor Diocletian immediately ordered his arrest and for him to be murdered by being tied to a stake and used for target practice. Though he was hit with many, many arrows and assumed to be dead, he was covered by Irene of Rome, who hid him while he recovered from his many wounds. Eventually, Sebastian was well enough to leave, and he set out to find the Emperor in order to criticize him for his anti-Christian practices.