Contents 6 Artists in the Focus of Their Own Eyes 62 Vincent van Gogh — Self-Portrait with Bandaged Ear 30 Master Gerlachus — Moses and the Burning Bush 64 Edvard Munch — Self-Portrait with Burning Cigarette 32 Fra Filippo Lippi — Coronation of the Virgin 66 James Ensor — Ensor with Masks 34 Albrecht Dürer — Self-Portrait in a Fur Coat 68 Pablo Picasso — Self-Portrait with Palette 36 Giorgione — Self-Portrait as David 70 Egon Schiele — Self-Portrait with Black Clay Vessel 38 Parmigianino — Self-Portrait in Convex Mirror 72 Ernst Ludwig Kirchner — Self-Portrait with Model 40 Michelangelo — Self-Portrait on the Skin of St Bartholomew 74 Frida Kahlo — Self-Portrait with Cropped Hair 42 Caravaggio — David with the Head 76 Felix Nussbaum — Self-Portrait with Jewish of Goliath Identity Card 44 Peter Paul Rubens — The Honeysuckle Bower 78 Max Beckmann — Self-Portrait in Black 46 Salvator Rosa — Philosophy 80 Diego Rivera — Self-Portrait 48 Nicolas Poussin — Self-Portrait) 82 Salvador Dalí — Dali, Nude, Entranced in the Contemplation of Five Regular Bodies 50 David Bailly — Self-Portrait with Metamorphosed in Corpuscles, in which Vanity Symbols Suddenly Appears Leonardo’s “Leda,” 52 Diego Velázquez — Velázquez and the Royal Chromosomatised by the Face of Gala Family (Las Meninas) 84 Lucian Freud — Reflection with Two Children 54 Rembrandt Harmensz. van Rijn — (Self-Portrait) Self-Portrait as Zeuxis 86 Andy Warhol — Self-Portrait 56 Rosalba Carriera — Self-Portrait with 88 Francis Bacon — Self-Portrait a Portrait of Her Sister Giovanna 90 David Hockney — Self-Portrait with 58 Jean-Baptiste-Siméon Chardin — Self-Portrait Blue Guitar with Eye-Shade 92 Albert Oehlen — Self-Portrait with Palette 60 Francisco de Goya — Self-Portrait in the Workshop 94 Gerhard Richter — Court Chapel, Dresden 01-96_GENRE_SELF-PORTRAITS_BA_GB_49289.IND7501-96_GENRE_SELF-PORTRAITS_BA_LITHO_49289.IND75 4 4 14.02.1708.02.17 10:4415:16 01-96_GENRE_SELF-PORTRAITS_BA_LITHO_49289.IND7501-96_GENRE_SELF-PORTRAITS_BA_GB_49289.IND75 5 5 08.02.1714.02.17 15:1610:44.

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Rubens Was Artist, Scholar, Diplomat--And a Lover of Life
RUBENS WAS ARTIST, SCHOLAR, DIPLOMAT--AND A LOVER OF LIFE An exhibit at Boston's Museum of Fine Arts shows that this Flemish genius truly lived in the right place at the right time by Henry Adams Smithsonian, October, 1993 Of all the great European Old Masters, Rubens has always been the most difficult and puzzling for Americans. Thomas Eakins, the famed American portraitist, once wrote that Rubens' paintings should be burned. Somewhat less viciously, Ernest Hemingway made fun of his fleshy nudes—which have given rise to the adjective "Rubenesque"—in a passage of his novel A Farewell to Arms. Here, two lovers attempt to cross from Italy into Switzerland in the guise of connoisseurs of art. While preparing for their assumed role, they engage in the following exchange: "'Do you know anything about art?' "'Rubens,' said Catherine. "'Large and fat,' I said." Part of the difficulty, it is clear, lies in the American temperament. Historically, we have preferred restraint to exuberance, been uncomfortable with nudes, and admired women who are skinny and twiglike rather than abundant and mature. Moreover, we Americans like art to express private, intensely personal messages, albeit sometimes strange ones, whereas Rubens orchestrated grand public statements, supervised a large workshop and absorbed the efforts of teams of helpers into his own expression. In short, Rubens can appear too excessive, too boisterous and too commercial. In addition, real barriers of culture and At the age of 53, a newly married Rubens celebrated by painting the joyous, nine-foot- background block appreciation. Rubens wide Garden of Love.
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Sources of Photographs and Indexes Sources of Photographs
SOURCES OF PHOTOGRAPHS AND INDEXES SOURCES OF PHOTOGRAPHS H.M. the Queen: Fig. 181 London, A.C.Cooper: Figs.12, 23, 31, 47-50, 53, Althorp, The Earl Spencer: Fig. 13 71, 82, 102, 129, 160, 172, 176 Amsterdam, Fotocommissie Rijksmuseum: London, Courtauld Institute Galleries: Figs.147, F ig.87 149 Amsterdam, Gemeentemusea: Fig.45 London, J.Freeman: Figs.16, 30 A n tw e rp , J. D e M ae y e r: Figs. 17, 18 London, National Gallery: Figs.9, 10, 85, 110-112, Antwerp, Rubenianum: Figs.2, 4, 5, 6, 11, 14, 152, 200, 201 15, 39 , 43 , 44 , 46 , 55 , 66-69, 7o, 74, 74 , 78, 81, London, S.Newbery: Figs. 165, 227 90, 91, 93, 98, lo i, 105, 108, 121, 125, 126, 128, London, H.J.Orgler: Fig.229 131, 132, 135, 136, 138, 139, 142, 146, 150, 151, London, Royal Academy: Fig.116 156, 157, 159, 162, 163, 166, 167, 169-171, 174, Madrid, Museo del Prado: Figs.3, 76 175, 177, 178, 189, 193, 198, 203, 208-213, 2,18, Munich, Bayerische Staatsgemaldesammlungen : 222, 228, 234, 240, 241, 111. p.206 Figs.24-27, 29, 42, 84, 92, 145, 184-188, 192, Antwerp, ’t Felt: Fig.207 220, 239 Barcelona, Mas: Fig.22 New York, Metropolitan Museum of Art: Berlin, Staatliche Museen Preussischer Kultur- Figs.117, 133, 195-197, 135 besitz: Fig. 191 New York, Pierpont Morgan Library: Fig.230 Berlin (DDR), Staatliche Museen: Fig.83 Nîmes, Musée des Beaux-Arts: Fig.32 Brunswick, Herzog Anton-Ulrich Museum: Paris, Archives Photographiques: Figs.97, 119, Fig.216 123, 124 Brussels, A .C .L.: Figs.120, 122, 153, 223 Paris, Bibliothèque Nationale: Fig.237 Brussels, Bibliothèque Royale: Fig.236 Paris, B u llo z: Figs.96, 226 Brussels, Speltdoorn: Fig.109 Paris, Giraudon: Fig.118 Cleveland, The Cleveland Museum of Art : Paris, Réunion des Musées Nationaux: Figs.
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Self-Portraiture 1400-1700
9 Self-Portraiture 1400–1700 H. Perry Chapman In his biography of Albrecht Dürer, published in Het schilder-boeck (The Painter Book, 1604), Karel van Mander describes holding in his hands Dürer’s Self- Portrait of 1500 (fig. 9.1).1 Van Mander, the Dutch painter-biographer who wrote the lives of the Netherlandish and German painters (see chapter 24), was on his way home from Italy in 1577. He had stopped in Nuremberg, where he saw Dürer’s Self-Portrait in the town hall. Van Mander’s account conveys Dürer’s fame, as both the greatest German artist of the Renaissance and a maker of self- portraits. It tells us that self-portraits were collected and displayed, in this case by the city of Nuremberg. Above all, Van Mander’s remarks demonstrate that, by 1600, self-portrait was a concept. Though there was as yet no term for self- portrait (autoritratto dates to the eighteenth century, Selbstbildniss and “self-portrait” to the nineteenth), a portrait of an artist made by that artist was regarded as a distinctive pictorial type. The self-portrait had acquired a mystique, because the artist had come to be regarded as a special person with a special gift. The topos “every painter paints himself” conveyed the idea that a painter invariably put something of him/herself into his/her art. More than any other kind of artistic creation, the self-portrait was regarded as a manifestation of the artist’s ineffable presence in the work. Today we tend to think of self-portrayal as a private process and of the self- portrait as the product of introspection.
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OAC 2013 Round #2
OAC 2013 Packet 2 CATEGORY ROUND American Literature: FLORID POETRY Team A: What British Romantic wrote "Ah, Sunflower" as well as a poem about syphilis, "The Sick Rose"? ANSWER: William Blake Team B: What American poet wrote "To the Fringed Gentian," "The Yellow Violet," and "To a Waterfowl"? ANSWER: William Cullen Bryant This poet included "September on Jessore Road" in his collection The Fall of America. One poem by this man asks, "When did you look at your skin and decide you were an impotent dirty old locomotive?" This poet asked Walt Whitman which way his beard points in another poem. This poet of "Sunflower Sutra" and "A Supermarket in California" repeatedly invoked Moloch in the second section of another poem in which he famously declared, "I saw the best minds of my generation destroyed by madness." Name this Beat poet of "Howl." ANSWER: Allen Ginsberg [or Irwin Allen Ginsberg] Mathematics: Solid Geometry (All questions in this round are 20 seconds) Team B: What is the surface area of a tetrahedron in which each edge is 4 inches long? Express your answer in simple radical form. ANSWER: 16 times the square root of 3 square inches [or 16 times radical 3 square inches] Team A: What is the volume of a cube with surface area 24 square centimeters? ANSWER: 8 cubic centimeters Tossup: This operation only exists in seven-space and in three-space. This operation will give the normal to a plane when applied to an independent basis spanning the plane. It can be evaluated by finding the determinant of a three-by-three matrix consisting of the two inputs.
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Complete Works of Brann the Iconoclast Vol 1,The
THE COMPLETE WORKS OF BRANN THE ICONOCLAST VOLUME I In putting into permanent form the complete works of William Cowper Brann, twenty-one years after his death, the sole purpose of the present publishers is to preserve in its entirety the genius of a writer whose work, though produced under the stress of journalism, is destined to endure as literature. Upon the issues discussed by Brann, the publishers take no sides; they do not stand as sponsors for, nor do they desire to appear in the light of either approving or disapproving his opinions or methods. They were friends and neighbors of many years' standing of the men and institutions mentioned in Brann's writings, but were in no way involved in the bitter controversies and deplorable events which led to Brann's untimely and dramatic death. The plan and arrangement of this twelve-volume set of Brann is simple. The first volume is composed of articles of various length gathered from miscellaneous sources, and includes some of the better known articles from The ICONOCLAST. Volume II to XI inclusive are the files of The ICONOCLAST (from February, 1895 to May, 1898, inclusive), with the matter arranged approximately as it appeared in the original publication. Volume XII contains the story of Brann's death and various biographical and critical articles from the press of the day, together with those of Brann's speeches and lectures which have been preserved. At the close of Volume XII you will find a complete index of subjects and of titled articles for the entire twelve volumes.
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Emmet Gowin's Photographs of Edith
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 The Photographer's Wife: Emmet Gowin's Photographs of Edith Mikell Waters Brown Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4501 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. School of the Arts Virginia Commonwealth University This is to certify that the dissertation prepared by Mikell Waters Brown entitled "The Photographer's Wife: Emmet Gowin's Photographs of Edith" has been approved by her committee as satisfactory completion of the dissertation requirement fo r the degree of D Philosophy. , irector, Department of Art History, School of the Arts Dr. Eric Garberson, Reader, Department of Art History, School of the Arts redrika Jacobs, �r,Depalfiii'ent of Art History, School of the Arts Dr. Michael Schreffler, Reader, Department of Art History, School of the Arts Ot1irS'fiIfe"'Reader, Chief Curator, Hirshhorn Museum, Smithsonian Dr. Eric Garberson, Director of Graduate Studies, Department of Art History, School of the Arts Dr. Richard E. Toscan, Dean, School of the Arts Dr. F. Douglas Boudinot, Dean, School of Graduate Studies ©Mikell Waters Brown 2005 All Rights Reserved The Photographer's Wife: Emmet Gowin's Photographs of Edith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University by Mikell Waters Brown, B.F.A., Virginia Commonwealth University, 1981 M.A., Virginia Commonwealth University, 1991 Director: Robert C.
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I GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND
GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND INTIMATE DISPLAY by Nicole Elizabeth Cook A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2016 © 2016 Nicole Elizabeth Cook All Rights Reserved i ProQuest Number: 10192313 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10192313 Published by ProQuest LLC ( 2016 ). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 GODEFRIDUS SCHALCKEN (1643-1706): DESIRE AND INTIMATE DISPLAY by Nicole Elizabeth Cook Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: ___________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education ii I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ H. Perry Chapman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
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The Physicality of Rubens‟ Human Bodies: Visuality And
THE PHYSICALITY OF RUBENS‟ HUMAN BODIES: VISUALITY AND MEDICINE IN EARLY MODERN EUROPE AIKATERINI GEORGOULIA TWO VOLUMES VOLUME I PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2014 ABSTRACT This thesis presents new textual and visual source material for our understanding of Rubens‟ painted human bodies. It identifies hitherto unexamined socio-cultural contexts, as well as contests and revises scholarly assumptions. I maintain that Rubens‟ bodies were informed by early modern scientific practices and medical discourses. The central argument is that Rubens‟ understanding of human physicality and the contemporary engagement with basic biological processes converge in his painted bodies. The medical view of the body as a psychosomatic unity – a nexus of material and immaterial properties – opens a new investigative avenue to studies of cultural materialism. The exploration of the enmeshment of materiality and immateriality gives an insight into how and in what ways matter and image acquire meaning. I argue that the immaterial characteristics of the human body are visually integrated in canvas and paper, pigments, oils and chalk. By exploring visual and textual sources, this study proposes a larger methodological framework. It brings together visuality, materiality and textuality, providing a cross-referential reading of text and image, and using both of them as core primary material with an argumentative voice. The analysis of the visual case studies (portraiture, history and religious painting) does not draw on a larger pre-determined and extraneous context, but context is produced by the image. Therefore, I perceive context as multifarious and wide-ranging. My approach responds to the previous lack of a broader study of Rubens‟ bodies via a medical perspective.
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Corpus Rubenianum Ludwig Burchard Part Xix
CORPUS RUBENIANUM MC / f / i LUDWIG BURCHARD PART XIX PORTRAITS II. ANTWERP - IDENTIFIED SITTERS BY HANS VLIEGHE CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SIX PARTS TRANSLATED FROM THE DUTCH BY P. S. FALLA SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE ‘NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIUe EEUW’ R.-A. d ’h u ls t, President ■ f. Baudouin, Secretary • r. pandelaers, Treasurer N. DE POORTER • A. STUBBE • H. L1EBAERS • J. K. STEPPE • C. VAN DE VELDE • H. VLIEGHE RESEARCH ASSISTANTS! A. BALIS • H. DEVISSCHER • P. HUVENNE • M. VANDENVEN RUBENS PORTRAITS OF IDENTIFIED SITTERS PAINTED IN ANTWERP BY HANS VLIEGHE HARVEY MILLER PUBLISHERS Originating Publisher h a r vey m iller ltd • 20 Marryat Road • London sw 19 5BD Published in the United States by o x f o r d u n iv e r s it y press • New York © 1987 N ationaal C en trum voor de Plastische Kunsten van de i6dc en de 17de Eeuw British Library Cataloguing in Publication Data Vlieghe, Hans Rubens portraits of identified sitters painted at Antwerp.— (Corpus Rubenianum Lu d w ig Burchard; part 19, v. 2). i. Rubens, Peter Paul “Catalogs I. T itle II. Rubens, P eter Paul III. D e schilder Rubens. E n g lish 759.9493 ND673.R9 ISBN 0-9052.03-57-7 All rights reserved. No part of this publication 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 Harvey Miller Ltd.
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The Term Rubenesque Is Used to Describe
The Term Rubenesque Is Used To Describe Vitrescible Hanan recommission quadrennially while Andrzej always stems his sweeties boned geotropically, he generating so indiscriminately. Britannic and homeothermal Hans often reproduced some accompt inconsonantly or decamps pokily. Zeke remains acaridan after Anders bedash logographically or belongs any Torrance. Do the inherent problems with preparing oil on their painting style of different risks of the rubenesque is there is used by changing environmental conditions Or ainsley grow up. In Ready Player One 201 the ugly girl that actually quite. English's definition of Rubenesque as 'designating a woman like a voluptuous. Viewers would be improved at ageing of these homeowners live models but the key element, model will the term is. May also appears for their presence hold on. It heard now used to counter similar portrayals in custody work of others. Used her king a model for many of trump later paintings giving seed to establish term Rubenesque to describe content as lusciously endowed as Helene. Definition of Rubenesque in the Definitionsnet dictionary Meaning of Rubenesque What does Rubenesque mean Information and translations of. Rubenesque Meaning Best 5 Definitions of Rubenesque. Rubenesque Sir Peter Paul Rubens was a Flemish Baroque painter and a. Art Appreciation Final Flashcards Quizlet. Your web gallery of us only is used was different positions as beautiful women who thinks you can be the term linear extension a concrete pad along the. People to using various stages of rubenesque is. Who used the artist as a propaganda painter commissioning him to paint. Additionally Rubens was quite fond of painting full-figured women cannot rise to hurry like 'Rubensian' or 'Rubenesque' sometimes 'Rubensesque'.
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Diplomarbeit
Diplomarbeit Titel der Arbeit Viennese Art Picture System Verfasserin Patricia Schäfer, BA Angestrebter akademischer Grad Magistra der Naturwissenschaften (Mag. rer. nat.) Wien, im Oktober 2015 Studienkennzahl lt. Studienblatt: A 298 Studienrichtung lt. Studienblatt: Psychologie Betreuer: Univ. Prof. Dipl. Psych. Dr. Helmut Leder 2 3 Danksagung An dieser Stelle möchte ich mich bei all jenen Menschen bedanken, die zur Entstehung, Durchführung und Fertigstellung dieser Diplomarbeitsstudie in irgendeiner Art und Weise beigetragen haben. Danken möchte ich zunächst meinem Betreuer, Herrn Univ. Prof. Dr. Helmut Leder. Er ermöglichte mir die Bearbeitung dieses Diplomarbeitsthemas und war mir während des gesamten Arbeitsprozesses eine wichtige Motivationsquelle. Danken möchte ich auch meinem zweiten Betreuer, Herrn Mag. David Brieber, der mir von Anfang an eine wichtige Ansprechperson war und mir mit fachlicher Unterstützung und konstruktiver Kritik zur Seite stand. Herzlich gedankt sei auch Herrn Mag. Andreas Gartus, für seine freundliche und hilfsbereite Art und die wertvollen Ratschläge, insbesondere im Umgang mit E-Prime. Vielen Dank all jenen, die sich zur Teilnahme an dieser Diplomarbeitsstudie bereit erklärten und somit die Normierung der vorliegenden Bilddatenbank überhaupt erst ermöglichten. Ein ganz großes Dankeschön geht an meine Freunde, die mich nicht nur während der Arbeit an dieser Diplomarbeit motivierten und unterstützten, sondern während des gesamten Studiums für mich da waren. Es war eine tolle Studienzeit! Besonders danken möchte ich meinem Freund Matthias. Durch seine empathische, humorvolle und unbekümmerte Art war er mir eine wichtige emotionale Stütze und erinnerte mich stets daran, neben Studium und Arbeit die wesentlichen Dinge nicht aus den Augen zu verlieren. Widmen möchte ich diese Arbeit meiner Oma, meinen Eltern und Geschwistern, „Schwester“, sowie Mario und Tina.
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1 Peter Paul Rubens and the Mineral World Marcia Pointon
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Norwich University of the Arts Repository 1 Peter Paul Rubens and the mineral world Marcia Pointon If we think of early seventeenth-century European court portraits, their surfaces spangled with jewels, we think above all of Frans Pourbus the Younger (1569-1622). When Rubens arrived at the Gonzaga court in 1600 Pourbus was official court artist. Why Rubens went to Mantua is not known but he may, like Pourbus, have met the Duke on one of his many visits to Flanders. 1 Despite frequent absences including a visit to Rome 1601-2, a journey to Spain on behalf of the Duke in 1603 and a further period in Rome from 1606 until the last week of October 1608, he remained in the Duke’s service throughout his stay in Italy.2 The display of large quantities of precious stones that characterized Pourbus’s court portraits was less a flattering fiction of wealth than a requirement. Moreover an understanding (cognito) of gems was regarded in the early modern period as a necessity for great princes and prelates who were expected to be able to identify stones and distinguish authentic from fake. 3 Marie de’ Médicis, for whom Rubens would work later in his career, was typically knowledgeable about gem-stones: as the daughter of the Grand Duke Francesco I (1541-1587), a lapidarist and practitioner in alchemical research, she had been taught gemmology.4 Rubens’s career following his sojourn in Mantua was so stellar that it is easy to forget that he was a part of this world in which precious stones were ornament, currency, magical, cosmogonic.
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