Pre-Raphaelites: Texts
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Contact United Methodist Church May 2017
North Bethesda Contact United Methodist Church May 2017 Volume 46, Issue 5 6:30 AM Easter Sunrise Service Thirty-eight folks arrived for a lovely sunrise service. Ken Ow used a recording of a trumpet playing “Christ the Lord is Risen Today” on his phone, then amplified it through his bullhorn! Pastor Jeff started with the greeting and service. Karina Mobley did a superb job as the “Child of the Resurrection,” recounting her views of Palm Sunday, Good Friday, and Easter morning. Valerie Blane, as Mary, Jesus’ mother, told listeners highlights of Jesus’ life and the fulfillment of God’s promise with the resurrection. The delightfully yummy breakfast featured Natalie McManus’ famous egg casserole, Mark’s muffins and pastries, Virginia’s selection of cut fruits and special dip, as well as tea, coffee, and juice. Thanks to Ed Swanson for taking care of the chairs. Valerie Blane 10:00 AM Easter Morning Worship Service A joyous Easter celebration started with Tony’s trumpet piece on the organ, followed by bells on the organ. Truly, one could almost see the bell ringers! The altar was full of beautiful flowers and fragrant scents. A fresh, bright white drape hung from the cross. People wore smiles. Some children wore hats! (Do you remember back in the day when all females wore new hats for Easter?) The choir sang Randall Thompson’s “Alleluia,” an incredibly glorious piece, whose harmonies are intricately woven into insistent praise and thanksgiving. Liturgist Merlyn Vemury read the Easter story. Pastor Jeff gave a sermon on the empty tomb. We took a moment to bless Jennifer Fellows who left for a solo trip to Utah to visit her mother. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
This Book Reconsiders and Revises Our Understanding of Pre-Raphaelite
Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information PRE-RAPHAELITE PAINTING AND NINETEENTH-CENTURY REALISM This book reconsiders and revises our understanding of Pre-Raphaelite painting: its philosophy of art, its sources, its cohesiveness, and its relationship to the broader context of contemporary European Realism. Challenging several long-standing be- liefs about the PRB, which is often characterized as a disparate group who pursued divergent, even antithetical, goals, Marcia Werner proposes that the Pre-Raphaelites developed and shared an artistic philosophy comprehensive enough to embrace all of their differences. Werner reconstructs this credo through careful study of writings by Pre-Raphaelite artists and their associates. She also examines unexplored and neglected contemporary intellectual and philosophical sources, particularly those of John Stuart Mill and Thomas Carlyle, whose works are shown to be critical to an understanding of Pre-Raphaelite painting. Supporting her ideas through sustained analyses of key works, the author also argues that John Ruskin’s importance to the Pre-Raphaelites has been misunderstood and overstated. Marcia Werner is Adjunct Associate Professor of Art History at Temple University in Philadelphia. © Cambridge University Press www.cambridge.org Cambridge University Press 0521824680 - Pre-Raphaelite Painting and Nineteenth-Century Realism Marcia Werner Frontmatter More information Pre-Raphaelite Painting and Nineteenth-Century -
Mary Magdalene: Her Image and Relationship to Jesus
Mary Magdalene: Her Image and Relationship to Jesus by Linda Elaine Vogt Turner B.G.S., Simon Fraser University, 2001 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Liberal Studies Program Faculty of Arts and Social Sciences © Linda Elaine Vogt Turner 2011 SIMON FRASER UNIVERSITY Fall 2011 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for "Fair Dealing." Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Linda Elaine Vogt Turner Degree: Master of Arts (Liberal Studies) Title of Project: Mary Magdalene: Her Image and Relationship to Jesus Examining Committee: Chair: Dr. June Sturrock, Professor Emeritus, English ______________________________________ Dr. Michael Kenny Senior Supervisor Professor of Anthropology ______________________________________ Dr. Eleanor Stebner Supervisor Associate Professor of Humanities, Graduate Chair, Graduate Liberal Studies ______________________________________ Rev. Dr. Donald Grayston External Examiner Director, Institute for the Humanities, Retired Date Defended/Approved: December 14, 2011 _______________________ ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. -
Hesterna Rosa , Found , Hamlet and Ophelia , and Mary Magdalene
This work has been reproduced on behalf of the author for web publication with minor corrections and formatting changes, and the addition of hyperlinks to images of paintings and illustrations mentioned in the text. Readers wishing to refer to this essay should use the original place of publication: Bentley, D.M.R. “Dante Gabriel Rossetti as Disegnatore: Hesterna Rosa, Found, Hamlet and Ophelia, and Mary Magdalene at the Door of Simon the Pharisee,” Journal of Pre-Raphaelite Studies NS 18 (Fall 2009): 41-67. DANTE GABRIEL ROSSETTI AS DISEGNATORE: HESTERNA ROSA, FOUND, HAMLET AND OPHELIA, AND MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE D.M.R. BENTLEY He showed me many designs for pictures: they tossed about everywhere in the room; the floor at one end of the room was covered with them, and with books… He taught me to have no fear or shame of my own ideas, to design perpetually. — Edward Burne-Jones remembering Dante Rossetti (qtd in Georgiana Burne-Jones 1:130, 149) In its entries for “design” as a noun and as a verb, the Oxford English Dictionary traces the origin of the word in both lexical categories to the Renaissance Italian disegno and its cognates, which denote activities and their outcomes that are both representational and intellectual: to design or to make a design is to realize a rational concept (plot, purpose, intention) in a visual form that is often preliminary to a final image. In Painting and Experience in Fifteenth-Century Italy, Michael Baxandall further clarifies the meaning of disegno with reference to Cennino Cennini’s Il Libro dell’Arte (1437), where it is associated with “pencil, lines, the representation of edges, [and] perspective” and distinguished from colorire and its associations (“brush, tones, the representation of surfaces, [and] rilievo”) in a “dichotomy … [that] made drawings and painting … the ‘foundation of the art of painting’” as it would be “taught and … observed” for centuries to come in Europe (139-40). -
Western University London Canada Department of English English
Western University London Canada Department of English English 4420F: The Pre-Raphaelites Unless otherwise indicated, all texts are in Rossetti’s Collected Poetry and Prose. Ed. Jerome McGann. Not all the poems listed under a given date will be covered in the same amount of detail, but they will be given prominence if they are selected by one or more members of the seminar as the focus of a short essay. Members of the seminar are encouraged to range widely in Rossetti’s work, both literary and artistic, and incorporate their findings and insights into our discussions. Owing to the overlaps between and among different strains of Rossetti’s work, the readings after the Fall Study Break provide considerable flexibility Seminar Schedule and Readings: September 10 Preamble September 17 Introduction Readings: Pugin, Collinson, Stephens, Ruskin (handouts) September 24 Introduction “Mary’s Girlhood (For a Picture)” October 1 Marian Paintings and Poems Readings: “Filii Filia,” “Mary’s Girlhood (For a Picture),” “For a Virgin and Child by Hans Memmelink,” “For a Marriage of St. Catherine by the Same,” “Ave,” “The Passover of the Holy Family (For a Drawing,” “Sudden Light,” “For ‘Our Lady of the Rocks’ by Leonardo da Vinci” October 8 Pre-Raphaelite Manifestos Readings: “Old and New Art,” ‘Hand and Soul” October 15 Early Poems Readings: “My Sister’s Sleep,” “The Blessed Damozel,” “The Burden of Nineveh,” “The Staff and Scrip,” “A Lsst Confession,” “The Bride’s Prelude” October 22 The “Fallen Woman” Readings: “The Honeysuckle,” “Found (For a Picture),” “Mary Magdalene at the Door of Simon the Pharisee (For a Drawing),” “Jenny” October 29 The Femme Fatale Readings: “The Card-Dealer,” “Troy Town,” “Body’s Beauty,” “Eden Bower,” “The Orchard Pit” (both prose and poem), “Pandora (For a Picture),” “Lilith. -
European Art & Decorative Arts Wall Text and Extended Labels
European Art & Decorative Arts Wall Text and Extended Labels FIRST FLOOR The Morgan Memorial The construction of the Morgan Memorial, completed in two sections in 1910 and 1915, more than doubled the size of the original Wadsworth Atheneum that opened in 1844. The building is dedicated to Junius Spencer Morgan, whose bust by William Wetmore Story stands at the top of the western stairs. Morgan was a Hartford man who founded a banking empire, and his son, J. Pierpont Morgan, chose to build the museum’s new wing as a tribute to his father. The total cost of the Memorial—over $1,400,000—represents the largest of J. Pierpont Morgan’s generous gifts. He spent over twelve years purchasing the several properties on which the Memorial stands, and was involved in its construction until his death in 1913. Benjamin Wistar Morris, a noted New York architect, was selected to design what was to be a new home for the Wadsworth Atheneum’s art collection. It was built in the grand English Renaissance style, and finished with magnificent interior details. Four years after J. Pierpont Morgan’s death, his son, J. Pierpont Morgan Jr., followed the wishes outlined in his father’s will and gave the Wadsworth Atheneum a trove of ancient art and European decorative arts from his father’s renowned collection. Living in the Ancient World Ordinary objects found at sites from the countries surrounding the Mediterranean Sea and the Middle East reveal a great deal about daily life in the ancient world. Utensils for eating and drinking, glassware, lamps, jewelry, pottery, and stone vessels disclose the details of everyday life. -
The Pre-Raphaelite Brotherhood: Painting
Marek Zasempa THE PRE-RAPHAELITE BROTHERHOOD: PAINTING VERSUS POETRY SUPERVISOR: prof. dr hab. Wojciech Kalaga Completed in partial fulfilment of the requirements for the degree of PhD. UNIVERSITY OF SILESIA KATOWICE 2008 Marek Zasempa BRACTWO PRERAFAELICKIE – MALARSTWO A POEZJA PROMOTOR: prof. dr hab. Wojciech Kalaga UNIWERSYTET ŚLĄSKI KATOWICE 2008 CONTENTS INTRODUCTION .................................................................................................................. 1 CHAPTER 1: THE PRE-RAPHAELITE BROTHERHOOD: ORIGINS, PHASES AND DOCTRINES ............................................................................................................. 7 I. THE GENESIS .............................................................................................................................. 7 II. CONTEMPORARY RECEPTION AND CRITICISM .............................................................. 10 III. INFLUENCES ............................................................................................................................ 11 IV. THE TECHNIQUE .................................................................................................................... 15 V. FEATURES OF PRE-RAPHAELITISM: DETAIL – SYMBOL – REALISM ......................... 16 VI. THEMES .................................................................................................................................... 20 A. MEDIEVALISM ........................................................................................................................................ -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Veronica Franco and Sor Juana Inés De La Cruz
FINDING A ROOM OF ONE’S OWN: VERONICA FRANCO AND SOR JUANA INÉS DE LA CRUZ by Marianna De Tollis A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Marianna De Tollis ii FINDING A ROOM OF ONE'S OWN: VERONICA FRANCO AND SOR JUANA INES DE LA CRUZ by Marianna De Tollis This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Yolanda Gamboa Tusquets, Department of Languages, Linguistics and Comparative Literature, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts & Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Yflanda Gamboa quets, Ph.D. D~=A~ fJrtrt£ tc Nora Erro-Peralta, Ph.D. Ilaria sd~~~ Frederic Conrod, Ph.D. Michael J orswell, Ph.D. Dean, Dorothy F. Schmidt College of Arts & Letters ~--S~ Khaled Sob han, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGMENTS I would like to start with a special thank to my advisor, Dr. Yolanda Gamboa, for her persistence, patience, encouragement, and friendship during the writing of this manuscript; her immense knowledge and gentle spirit gave me strength and guidance through the “selva oscura” of my Ph.D. years. I also wish to express sincere gratitude to my committee members, Dr. Nora Erro-Peralta, Dr. Ilaria Serra, and Dr. -
Pre-Raphaelitism Edna Fairchild
PRE-RAPHAELITISM EDNA FAIRCHILD. Bibliography Presented for the Degree of Bachelor of Library Science in the Illinois State Library School in the University of Illinois r PREFACE. It has been the purpose of the compiler in preparing the pre sent work to bring together all the periodical literature on the artistic phase of the Pre-Raphaelite movement in England. The ma terial to be found in histories of art and other books on art subjects, has been but sparingly included, as in every hi story of art will be found a treatise, more or less brief, on the sub ject of Pre-Raphaelitism, and it would be manifestly impossible to procure for examination all of the books to make the b i b l i ography complete. It has seemed advisable, therefore, to in clude in the present bibl iography only the less accessible material. The painters considered in this work are, Rossetti, Millais, and Hunt, the founders of the Pre-Raphaelite Brotherhood, and Brown and Burne-Jones, the cause and effect, as it were, of the movement. It has seemed that a bibliography which treated fully of the movement as a whole and of the five artists above noted, would be a fairly complete representation of the subject. II A special feature of the work, and one which the compiler trusts will be of assistance to art students and others who are desirous of becoming familiar with the works of the painters of the present century, is the division three (3) under each of the individual painters, i.e., the list of the books and periodi cals examined. -
Liminal and Transitory Women in the Work of Dante Gabriel Rossetti Michelle Bunton Western University, [email protected]
Western University Scholarship@Western 2016 Undergraduate Awards The ndeU rgraduate Awards 2016 Towards Romantic Syncretism: Liminal and Transitory Women in the Work of Dante Gabriel Rossetti Michelle Bunton Western University, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/ungradawards_2016 Part of the Feminist, Gender, and Sexuality Studies Commons, Painting Commons, and the Poetry Commons Recommended Citation Bunton, Michelle, "Towards Romantic Syncretism: Liminal and Transitory Women in the Work of Dante Gabriel Rossetti" (2016). 2016 Undergraduate Awards. 20. https://ir.lib.uwo.ca/ungradawards_2016/20 1 Towards Romantic Syncretism: Liminal and Transitory Women in the Work of Dante Gabriel Rossetti Throughout his career, Dante Gabriel Rossetti struggled with a poetic and visual synthesis of the ideal with the sensual, exploring and attempting to resolve the “brooding paradox” (Casteras 18) of Victorian sexuality, a feat not easily achieved during an era of such fervent morality. Developing his own Romantic Syncretism, Rossetti presents a synthesis of multifaceted symbolism and allegory in his work, combining pagan and Christian themes to create a liminal space in which the divided natures of his female subjects, their object versus subject-hood, are unified. His approach to Christian symbology via fleshy and aesthetic representation of the female form retains a sense of spiritual transcendence, thus defining a mode of access other than faith to the spiritual, and calling into question the strict orthodoxy and sterility of religion (McGowan 114). Focusing on works that present the female subject in a liminal or transitory state, specifically Found, Mary Magdalene at the Door of Simon the Pharisee, La Bella Mano, and The Blessed Damozel, this essay will examine how Rossetti represents the transitional void between the pure and profane, the virginal and sexual, erecting a bridge between these previously sterilized and distilled halves of the self in order to reveal their complimentary and mirrored nature.