Caspar David Friedrich (1774-1840)
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Salvador Dalí. De La Inmortal Obra De Cervantes
12 YEARS OF EXCELLENCE LA COLECCIÓN Salvador Dalí, Don Quijote, 2003. Salvador Dalí, Autobiografía de Ce- llini, 2004. Salvador Dalí, Los ensa- yos de Montaigne, 2005. Francis- co de Goya, Tauromaquia, 2006. Francisco de Goya, Caprichos, 2006. Eduardo Chillida, San Juan de la Cruz, 2007. Pablo Picasso, La Celestina, 2007. Rembrandt, La Biblia, 2008. Eduardo Chillida, So- bre lo que no sé, 2009. Francisco de Goya, Desastres de la guerra, 2009. Vincent van Gogh, Mon cher Théo, 2009. Antonio Saura, El Criti- cón, 2011. Salvador Dalí, Los can- tos de Maldoror, 2011. Miquel Bar- celó, Cahier de félins, 2012. Joan Miró, Homenaje a Gaudí, 2013. Joaquín Sorolla, El mar de Sorolla, 2014. Jaume Plensa, 58, 2015. Artika, 12 years of excellence Índice Artika, 12 years of excellence Index Una edición de: 1/ Salvador Dalí – Don Quijote (2003) An Artika edition: 1/ Salvador Dalí - Don Quijote (2003) Artika 2/ Salvador Dalí - Autobiografía de Cellini (2004) Avenida Diagonal, 662-664 2/ Salvador Dalí - Autobiografía de Cellini (2004) Avenida Diagonal, 662-664 3/ Salvador Dalí - Los ensayos de Montaigne (2005) 08034 Barcelona, Spain 3/ Salvador Dalí - Los ensayos de Montaigne (2005) 08034 Barcelona, España 4/ Francisco de Goya - Tauromaquia (2006) 4/ Francisco de Goya - Tauromaquia (2006) 5/ Francisco de Goya - Caprichos (2006) 5/ Francisco de Goya - Caprichos (2006) 6/ Eduardo Chillida - San Juan de la Cruz (2007) 6/ Eduardo Chillida - San Juan de la Cruz (2007) 7/ Pablo Picasso - La Celestina (2007) Summary 7/ Pablo Picasso - La Celestina (2007) Sumario 8/ Rembrandt - La Biblia (2008) A walk through twelve years in excellence in exclusive art book 8/ Rembrandt - La Biblia (2008) Un recorrido por doce años de excelencia en la edición de 9/ Eduardo Chillida - Sobre lo que no sé (2009) publishing, with unique and limited editions. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Goya Dvd Propuesta Unidad Didáctica
UNIT 3. SPAIN IN THE XIX CENTURY 1. The end of the Old Regime 1.1 Carlos IV and the War of Independence 1.2 Galicia during the War of Independence 2. Fernando VII 2.1. Politics 2.2. The Independence of the American colonies 3. Isabel II 4. The Revolutionary Sexennium 5. The Restoration 1 SPAIN IN THE 19th CENTURY (SEEN THROUGH ART) Art can be a great way to understand our history. Every period of our History has been reflected by painters, sculptors, photographers or film- makers. Let´s have a look at Spain in the 19th century with the help of our friends (the artists) TASK 1. BRAINSTORM Let´s check what you remember from unit 1. We can say that the transition from the Old Regime to Liberalism happens in Spain during the 19th century. Try to relate these features with either the Old Regime or the Liberalism Absolute Monarchy Parliament Constitution Equality (same rights for everybody) Different rights and duties for every state No middle classes Sovereignty resides in the nation TASK 2 In pairs, try to arrange this biography of Goya. GOYA´S BIOGRAPHY….TEXT IN PARTS The French occupation in 1808 inspires him two major works (The 2nd of May and The 3rd of May) and the series of engravings “The Disasters Of War” He started painting cartoons for the Royal Tapestry Factory (in Madrid) during the reign of Charles IV. They were scenes about the customs of the Spanish people like The parasol, The snow or La gallina ciega After a serious illness, Goya became deaf. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
Art List by Year
ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High -
Caroline Murat: Powerful Patron of Napoleonic France and Italy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. -
Francisco Goya
Francisco Goya Biography Returning to Spain in 1772, Goya would become Aragonʼs most famous painter as a result of several fresco projects. He worked in the Cathedral of our Lady of El Pilar in Zaragosa, in a chapel in the palace of the Count of Sobradiel, and completed a series of large frescos for the charterhouse of Aula Dei, near Zaragosa. By 1774, Goya had one of the best artistic jobs in Spain, with steady work, good pay, and a direct connection to the royal court in Madrid. He was hired by his brother-in-law, Francisco Bayeu, to produce tapestries for the royal palaces. Goyaʼs job was to create paintings (called cartoons) which the weavers could copy in silk and wool. His tapestry cartoons were highly praised for their candid views of every day Spanish life, and he painted more than 60 in 16 years. During this time Goya created etchings of some of the works by Velázquez found in the kingʼs art Francisco José de Goya y Lucientes was an collection. As he copied Velázquezʼs works, he innovative Spanish painter and etcher, and one of was influenced by the way Velázquez composed the triumvirate—including El Greco and Diego his pictures, and by his way of capturing the Velázquez—of great Spanish masters. He was emotions and personality of his subjects. Goya born in the small Aragonese town of Fuendetodos began to attract a steady clientele with his talent (near Saragossa) on March 30, 1746. His father as a draftsman, printmaker and painter. was a painter and a gilder of altarpieces, and his mother was descended from a family of minor Goyaʼs career steadily advanced during this time. -
Through Gendered Lenses Enough to Ensure Its Continued Success
An Undergraduate Academic Journal of Gender Research & Scholarship ThroughThrough genderedgendered LensesLenses Edited By The Gender Studies Honors Society Gender Studies Program—University of Notre Dame 2011 Table of Contents Acknowledgements Letter from the Editors The Problem of the Woman Artist: How Eva Gonzales Was “Seen” in Late Nineteenth-Century France / 9 Brigid Mangano A Written but Unpracticed Intolerance: Same-Sex Sexuality and Public Order in Colonial America / 47 Joseph VanderZee Fairy Tale Fascinations with Victorian Governesses: The Seduction of Sympathizing with the Governess Figure in Nineteenth-Century Novels / 63 Kelly McGauley “A Life in Words”: Domestic Objects and Gertrude Stein / 105 Rachel Roseberry Singing in the Dead of Night, Seeking an Inclusive Community / 119 Mary Herber About Triota: The Gender Studies Honors Society / 132 About the Gender Studies Program / 134 Acknowledgments In its second edition, the Gender Studies Honor Society would like to recognize those who valued Through Gendered Lenses enough to ensure its continued success. This volume would be nothing but an aspiration without the foresight of former editors Amanda Lewis and Miriam Olsen, whose wise advice guided this year’s editorial board. We owe them our sincere gratitude for their work on the first volume and their undeniable influence on the second. Additionally, the Honor Society recognizes Linnie Caye, Program Coordinator for the Gender Studies Program and unremitting cheerleader of this year’s journal. We also thank Dr. Pamela Wojcik, Program Director, and Dr. Abigail Palko, Director of Undergraduate Studies, for their input in the publishing process. This year’s editors have realized that publishing a journal not only requires endless planning but also funding from multiple sources. -
Asociación Aragonesa De Críticos De Arte
Asociación Aragonesa de Críticos de Arte http://www.aacadigital.com/contenido.php?idarticulo=789 Revista Número 22 | Estudios de Arte | Investigación | El ostracismo de Goya en El Coloso. El ostracismo de Goya en El Coloso. (Imagen de portada: Francisco de Goya, El Coloso, 1808-12. Museo Nacional del Prado, Madrid) Resumen: El Coloso es una de las obras más importantes del Patrimonio Cultural de España. El presente trabajo analiza las cuestiones relacionadas con la técnica y el procedimiento pictórico de este cuadro al óleo para esclarecer –en términos científicos– algunas de sus propiedades específicas, hasta ahora desconocidas, que acreditan la autoría de Francisco de Goya. Abstract: The Colossus is one of the most important works of Spain’s Cultural Heritage. The present essay studies this oil painting analyzing its technique and method in order to make clear –in scientific terms– some of its specific properties, hitherto unknown, proving Francisco de Goya's authorship. Palabras clave castellano: Goya, El Coloso, técnica y procedimiento. Palabras clave inglés: Goya, The Colossus, technique and method. A mi entrañable amigo y profesor Nigel Glendinning*. El óleo que solemos llamar El Coloso, en referencia al comentario realizado por Aureliano Beruete en 1917, es una obra relevante del Patrimonio Cultural de España que encarna con elocuencia el periodo de nuestra historia que dará lugar a nuestra época contemporánea. Sin embargo las propiedades técnicas y conceptuales de El Coloso han sido objeto de un reciente estudio por parte del Museo del Prado para argumentar su descatalogación como obra de Francisco de Goya. En el informe publicado por la Dra. -
Humanities (World Focus) Course Outline
Guiding Document: Humanities Course Outline Humanities (World Focus) Course Outline The Humanities To study humanities is to look at humankind’s cultural legacy-the sum total of the significant ideas and achievements handed down from generation to generation. They are not frivolous social ornaments, but rather integral forms of a culture’s values, ambitions and beliefs. UNIT ONE-ENLIGHTENMENT AND COMPARATIVE GOVERNMENTS (18th Century) HISTORY: Types of Governments/Economies, Scientific Revolution, The Philosophes, The Enlightenment and Enlightenment Thinkers (Hobbes, Locke, Montesquieu, Voltaire, Jefferson, Smith, Beccaria, Rousseau, Franklin, Wollstonecraft, Hidalgo, Bolivar), Comparing Documents (English Bill of Rights, A Declaration of the Rights of Man, Declaration of Independence, US Bill of Rights), French Revolution, French Revolution Film, Congress of Vienna, American Revolution, Latin American Revolutions, Napoleonic Wars, Waterloo Film LITERATURE: Lord of the Flies by William Golding (summer readng), Julius Caesar by Shakespeare (thematic connection), Julius Caesar Film, Neoclassicism (Denis Diderot’s Encyclopedie excerpt, Alexander Pope’s “Essay on Man”), Satire (Oliver Goldsmith’s Citizen of the World excerpt, Jonathan Swift’s Gulliver’s Travels excerpt), Birth of Modern Novel (Daniel Defoe’s Robinson Crusoe excerpt), Musician Bios PHILOSOPHY: Rene Descartes (father of philosophy--prior to time period), Philosophes ARCHITECTURE: Rococo, Neoclassical (Jacques-Germain Soufflot’s Pantheon, Jean- Francois Chalgrin’s Arch de Triomphe) -
Wreck: Gericault and the Body in Pieces
Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9.