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ART 486 / 586 Baroque Art Fall 2018
ART 486 / 586 Baroque Art fall 2018 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR after class until noon, TR 4:00 – 5:00 other times by appt. Class meets TR 9:30 – 10:45 in the Art History Room 106 in the Art Annex Building. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 281, 282 or the equivalent in history. Program Learning Outcomes (for art history majors, of which there are none in the class) 1. Foundation Skills 2. Interpretative Skills 3. Research Skills Undergraduate students will conduct art historical research involving logical and insightful analysis of secondary literature. Category: Embedded course assignment (research paper) Text: Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for example, on Aug. 22 there were 3 used copies of the 1st ed in acceptable condition for less than $7.19 or 7.23 and one good for $11.98 on bookfinder.com. I don’t require you to buy the book; however, you may want your own copy or share one at exam times. Work schedule: A. 2 non-comprehensive quizzes identifying works and terms, collectively worth 20% if higher than other work, 10% if lower. The extra 5% will count toward other work with the highest grade. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
Rembrandt: the Denial of Peter
http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT REMBRANDT: THE DENIAL OF PETER How an artistic composition reveals the essence of an axiomatic moment of truth By Pierre Beaudry, 9/23/16 Figure 1 Rembrandt (1606-1669), The Denial of Peter, (1660) Rijksmuseum, Amsterdam. Page 1 of 14 http://www.amatterofmind.us/ PIERRE BEAUDRY’S GALACTIC PARKING LOT INTRODUCTION: A PRAYER ON CANVAS All four Gospels of Matthew, Mark, Luke and John have reported on the prediction that Jesus made during the Last Supper, stating that Peter would disown him three times before the night was over, and all four mentioned the event of that denial in one form or another. If ever there was a religious subject that was made popular for painters in the Netherlands during the first half of the seventeenth century, it was the denial of Peter. More than twenty European artists of that period, most of them were Dutch, chose to depict the famous biblical scene, but none of them touched on the subject in the profound axiomatic manner that Rembrandt did. Rembrandt chose to go against the public opinion view of Peter’s denial and addressed the fundamental issue of the axiomatic change that takes place in the mind of an individual at the moment when he is confronted with the truth of having to risk his own life for the benefit of another. This report has three sections: 1. THE STORY OF THE NIGHT WHEN PETER’S LIFE WAS CHANGED 2. THE TURBULENT SENSUAL NOISE BEHIND THE DIFFERENT POPULAR PAINTINGS OF PETER’S DENIAL 3. -
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. -
(:Ji:Sic Sritidtf Or the ARTESANAL FISHERIES and TOURISM SECTORS, SCOTT's HEAD/SOUFRIERE, COMMONWEALTH of DOMINICA
AND PARTICIPATORY CLIMATE ADAPTATION STRATEGIES: (:ji:sic sriTiDTf or THE ARTESANAL FISHERIES AND TOURISM SECTORS, SCOTT'S HEAD/SOUFRIERE, COMMONWEALTH OF DOMINICA IPETT&RJLIIAinES [email protected] COPYRIGHT July, 2004 Thesis submitted in partial fulfillment of the requirements for the degree of Masters of Arts in International Development Studies (IDS) At Saint Mary’s University, Nova Scotia, Canada July 15,2004 Thesis Approved By: Dr. Henry Veltmeyer, Thesis Supervisor Dr. Tony Charles. Fire* D' jjr. uinc Irotz, Second Reader National Library Bibliothèque nationale 1^1 of Canada du Canada Acquisitions and Acquisisitons et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 0-612-93674-0 Our file Notre référence ISBN: 0-612-93674-0 The author has granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of theL'auteur conserve la propriété du copyright in this thesis. Neither thedroit d'auteur qui protège cette thèse. thesis nor substantial extracts from Niit la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou aturement reproduits sans son permission. autorisation. In compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this dissertation. -
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. -
Aelbert Jansz 7An Der Schoo
Aelbert Jansz 7an der Schoo Een Utrechts schilder en zijn werk P. van den Brink In 1995 ontvingen M.J. Bok en P. van den Brink de Oud-Utrechtprijs voor hun gezamenlijke publicatie over de Utrechtse schilder Aelbert van der Schoor. Hun artikel was gepubliceerd in het tijdschrift Oud Holland. Een bijgewerkte versie van het aandeel van Van den Brink van _ . , „ . , , ,, . , , , ... dit prijswinnende artikel geeft de Peter van den Brink (1956) studeerde kunstgeschiede- r ' b nis aan de Rijksuniversiteit Groningen. Na Cum Laude actuele stand van zaken weer rond te zijn afgestudeerd was hij onder meer werkzaam in r. , .... .. , „ . , ,. _ lr. ,.. , het onderzoek naar het oeuvre van Stedelijk Museum Het Prinsenhor m Delft. Zijn proef schrift, getiteld Ondertekening en andere technische jg weinig bekende 17de eeuwse aspecten van de Antwerpse maniëristen 1505-1525, schilder Aelbert van der Schoor, komt volgend jaar uit. Hij heeft regelmatig gepubli werkzaam in Utrecht. Veel van zijn ceerd over de Zuid- en Noordnederlandse schilder kunst van de zestiende eeuw, maar vooral over werken hebben onder andere schil Hollandse zeventiende-eeuwse schilderkunst. Sinds 1 ders te boek gestaan, zoals Abraham januari 1997 is hij werkzaam in het Bonnefantenmuseum in Maastricht, vanaf 1 januari Bloemaert, Theodoor Rombouts en 1999 als hoofdconservator Oude Kunst. Dirck van Baburen. Op grond van uitgebreid onderzoek naar scholing en werkwijze kunnen ruim dertig schilderijen aan Van der Schoor worden toegeschreven. Zij volgen in een aparte oeuvre-catalogus, die als een bijlage aan het artikel is toege voegd. PETER VAS DES BRISK AFI.BERT JANSZ VAN DER SCHOOR, EEN UTRECHTS SCHILDER EN ZIJN WERK Inleiding In 1975 werd in Neurenberg een schilderij geveild, voorstellend een herder en een her- derin met twee schapen. -
Right-Wing Extremism in Canada
Right Wing Extremism in Canada An Environmental Scan Dr. Barbara Perry University of Ontario Institute of Technology Ryan Scrivens Simon Fraser University Research Funded by Kanishka Project Contribution Program 2 Table of Contents 1. Background 3 1.1 Defining the Right 4 1.2 Analytical Framework 6 1.3 Methodologies 9 2. Right Wing Extremism in Canada 12 2.1 Historical Context 12 2.2 Contemporary Categories of Right Wing Extremism 16 2.3 Distribution of Right Wing Extremist Groups 32 2.4 Nature and Threat of Violence 34 3. Right Wing Extremist Group (Dis)Organization 41 3.1 Endogenous Facilitating Factors 41 3.2 Endogenous Inhibiting Factors 53 4. A Climate for Hate? 62 4.1 Exogenous Facilitating Factors 62 4.2 Exogenous Inhibiting Factors 74 5. The Next Steps 82 5.1 Diverting people from getting involved 83 5.2 Responding to hate speech and incitement 84 5.3 Managing threats to public order 87 5.4 Ending violent behaviour and fragmenting movements 88 5.5 Supporting and empowering victims 89 5.6 Raising awareness of the problem 92 5.7 Pushing public agencies to act 94 5.8 Conclusion: Creating safe and inclusive communities 96 References 98 Appendices I Applying Black’s Framework: Themes, Criteria and Data Collection 122 II Right Wing Extremist Groups in Canada: Past and Present 125 III Right Wing Ideologues, Gurus and Lone Wolves 129 IV Incidents Related to Right Wing Extremists, 1980-2014 135 V Recognizing Sovereigntists 162 VI Matrices for Recognizing Radicalization 166 3 1. Background In April of 2009, the U.S. -
POWER of the PORTRAIT: Production, Consumption and Display of Portraits of Amalia Van Solms in the Dutch Republic
POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms In the Dutch Republic by Saskia Beranek B.A., Pennsylvania State University, 2001 M.A., Duke University, 2003 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Saskia Beranek It was defended on March 29, 2013 and approved by Jennifer Waldron, Associate Professor, English Joshua Ellenbogen, Associate Professor, History of Art and Architecture Stephanie Dickey, Bader Chair in Northern Baroque Art, Queen's University, Art Co-Advisor: C. Drew Armstrong, Associate Professor and Director of Architectural Studies Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by Saskia Beranek 2013 iii POWER OF THE PORTRAIT: Production, Consumption and Display of Portraits of Amalia van Solms in the Dutch Republic Saskia Beranek, PhD University of Pittsburgh, 2013 Portraits of Amalia van Solms, wife of Frederik Hendrik of Orange-Nassau and one of the most significant women in the Dutch Republic, were widely circulated and displayed during her lifetime (1602-1675). This study focuses on cases where specific audiences and sites of display can be isolated. When portraits can be viewed in their original context, they speak not only to those elements intrinsic to the image such as symbolism or fashion, but also to issues extrinsic to the image: social practices, cultural ideals, and individual identities. -
A Dutch Republican Baroque
FRANS-WILLEM KORSTEN A Dutch Republican Baroque amsterdam studies in the dutch golden age A Dutch Republican Baroque Amsterdam Studies in the Dutch Golden Age Editorial Board Frans Blom, University of Amsterdam Michiel van Groesen, Leiden University Geert H. Janssen, University of Amsterdam Elmer E.P. Kolfin, University of Amsterdam Nelleke Moser, VU University Amsterdam Henk van Nierop, University of Amsterdam Claartje Rasterhoff, University of Amsterdam Emile Schrijver, University of Amsterdam Thijs Weststeijn, University of Amsterdam Advisory Board: H. Perry Chapman, University of Delaware Harold J. Cook, Brown University Benjamin J. Kaplan, University College London Orsolya Réthelyi, Eötvös Loránd University Budapest Claudia Swan, Northwestern University A Dutch Republican Baroque Theatricality, Dramatization, Moment, and Event Frans-Willem Korsten Amsterdam University Press Cover illustration: Gerard van Honthorst, Laughing violinist, 1624 Cover design: Kok Korpershoek, Amsterdam Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 212 3 e-isbn 978 90 4853 205 6 doi 10.5117/9789462982123 nur 685 © F.W. Korsten / Amsterdam University Press B.V., Amsterdam 2017 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. -
The White Flight of Derek Black
National The white flight of Derek Black By Eli Saslow October 15, 2016 Their public conference had been interrupted by a demonstration march and a bomb threat, so the white nationalists decided to meet secretly instead. They slipped past police officers and protesters into a hotel in downtown Memphis. The country had elected its first black president just a few days earlier, and now in November 2008, dozens of the world’s most prominent racists wanted to strategize for the years ahead. “The fight to restore White America begins now,” their agenda read. The room was filled in part by former heads of the Ku Klux Klan and prominent neoNazis, but one of the keynote speeches had been reserved for a Florida community college student who had just turned 19. Derek Black was already hosting his own radio show. He had launched a white nationalist website for children and won a local political election in Florida. “The leading light of our movement,” was how the conference organizer introduced him, and then Derek stepped to the lectern. “The way ahead is through politics,” he said. “We can infiltrate. We can take the country back.” Years before Donald Trump launched a presidential campaign based in part on the politics of race and division, a group of avowed white nationalists was working to make his rise possible by pushing its ideology from the radical fringes ever closer to the far conservative right. Many attendees in Memphis had transformed over their careers from Klansmen to white supremacists to selfdescribed “racial realists,” and Derek Black represented another step in that evolution. -
KASPER-DISSERTATION-2021.Pdf
Copyright by Jeremy Ray Kasper 2021 The Dissertation Committee for Jeremy Ray Kasper Certifies that this is the approved version of the following Dissertation: Forgetting How to Win: the U.S. Army, U.S. Department of State, and U.S. Agency for International Development in Post-Combat Operations (1983-2008) Committee: William Inboden, Supervisor Robert Hutchings Donald Kettl Aaron O’Connell Jeremi Suri Forgetting How to Win: the U.S. Army, U.S. Department of State, and U.S. Agency for International Development in Post-Combat Operations (1983-2008) by Jeremy Ray Kasper Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2021 Dedication To the warriors, diplomats, and foreign aid practitioners serving in the shadow of wars past, present, and future. And to my father, whose fascinating stories – told while milking cows on a modest Wisconsin dairy farm – inspired my interest in history and strategy. Acknowledgements This work was made possible by the support, mentorship, and encouragement of each dissertation committee member and the United States Army Goodpaster Scholars program; the candid insights of the practitioners and executives who agreed to be interviewed; and the saintly patience of the author’s wife. v Abstract Forgetting How to Win: the U.S. Army, U.S. Department of State, and U.S. Agency for International Development in Post-Combat Operations (1983-2008) Jeremy Ray Kasper, PhD The University of Texas at Austin, 2021 Supervisor: William Inboden This dissertation explores how bureaucracies adapt to – and learn from – unexpected crises that lay outside their core mission.