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JEWISH REVIEW of BOOKS Volume 5, Number 1 Spring 2014 $7.95
The New Balaboosta, Khazar DNA & Agnon’s Lost Satire JEWISH REVIEW OF BOOKS Volume 5, Number 1 Spring 2014 $7.95 The Screenwriter & the Hoodlums Ben Hecht with Stuart Schoffman Ivan Marcus Rashi with Chumash Elliott Abrams Israel’s Journalist-Prophet Steven Aschheim The Memory Man Amy Newman Smith Expulsion Chick-Lit Gavriel D. Rosenfeld George Clooney, Historian NEW AT THE Editor CENTER FOR JEWISH HISTORY Abraham Socher Senior Contributing Editor Allan Arkush Art Director Betsy Klarfeld Associate Editor Amy Newman Smith Administrative Assistant Rebecca Weiss Editorial Board Robert Alter Shlomo Avineri Leora Batnitzky Ruth Gavison Moshe Halbertal Hillel Halkin Jon D. Levenson Anita Shapira Michael Walzer J. H.H. Weiler Leon Wieseltier Ruth R. Wisse Steven J. Zipperstein Publisher Eric Cohen Associate Publisher & Director of Marketing Lori Dorr NEW SPACE The Jewish Review of Books (Print ISSN 2153-1978, The David Berg Rare Book Room is a state-of- Online ISSN 2153-1994) is a quarterly publication the-art exhibition space preserving and dis- of ideas and criticism published in Spring, Summer, playing the written word, illuminating Jewish Fall, and Winter, by Bee.Ideas, LLC., 165 East 56th Street, 4th Floor, New York, NY 10022. history over time and place. For all subscriptions, please visit www.jewishreviewofbooks.com or send $29.95 UPCOMING EXHIBITION ($39.95 outside of the U.S.) to Jewish Review of Books, Opening Sunday, March 16: By Dawn’s Early PO Box 3000, Denville, NJ 07834. Please send notifi- cations of address changes to the same address or to Light: From Subjects to Citizens (presented by the [email protected]. -
Cellini Vs Michelangelo: a Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia
International Journal of Art and Art History December 2018, Vol. 6, No. 2, pp. 22-30 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n2p4 URL: https://doi.org/10.15640/ijaah.v6n2p4 Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia Maureen Maggio1 Abstract: Although a contemporary of the great Michelangelo, Benvenuto Cellini is not as well known to the general public today. Cellini, a master sculptor and goldsmith in his own right, made no secret of his admiration for Michelangelo’s work, and wrote treatises on artistic principles. In fact, Cellini’s artistic treatises can be argued to have exemplified the principles that Vasari and his contemporaries have attributed to Michelangelo. This paper provides an overview of the key Renaissance artistic principles of furia, forza, difficultà, terriblità, and fantasia, and uses them to examine and compare Cellini’s famous Perseus and Medusa in the Loggia deiLanzi to the work of Michelangelo, particularly his famous statue of David, displayed in the Galleria dell’ Accademia. Using these principles, this analysis shows that Cellini not only knew of the artistic principles of Michelangelo, but that his work also displays a mastery of these principles equal to Michelangelo’s masterpieces. Keywords: Cellini, Michelangelo, Renaissance aesthetics, Renaissance Sculptors, Italian Renaissance 1.0Introduction Benvenuto Cellini was a Florentine master sculptor and goldsmith who was a contemporary of the great Michelangelo (Fenton, 2010). Cellini had been educated at the Accademiade lDisegno where Michelangelo’s artistic principles were being taught (Jack, 1976). -
JKV Offers All Residents and Staff Chance for COVID-19 Vaccination
March 2021 Vol. 8, Number 12 A Life-Plan Continuing Care Retirement Community Published Monthly by John Knox Village • 651 S.W. Sixth Street, Pompano Beach, Florida 33060 In This Month’s Issue JKV Offers All Residents And Staff Thanks For Asking ............... 2 Chance For COVID-19 Vaccination Rescuing Europe’s Art ....... 3 Chef Mark’s In Good Taste Recipe ........................ 4 Book Review ..................... 4 Meet The Middletons .......... 5 Ask Kim About JKV ............ 6 The Stressless Move .......... 7 Food As Medicine ................. 8 The Curious Mind ................. 8 JKV staff members (L. to R.) Susanne Russell, Joanne Avis and Loli Pire-Schmidt check-in resident Andrea Hipskind for her initial COVID-19 vaccination on Jan. 19. In all, some 800 residents and employees received their first vaccinations that day. Marty Lee photo. Technology Training ............ 9 ver since December and the management team jumped into action to plan for this ma- JKV Expands ........................ 9 Marty Lee approval of both the Pfizer- jor health care event. Elders in the Meaningful Life homes Gazette Contributor E A General’s Thoughts ...... 10 BioNTech and Moderna COVID-19 including Assisted Living at Gardens West and Long-Term vaccines, people all over the nation Care in Seaside Cove and The Woodlands had already Find The Light ................. 10 have been seeking their turn for vaccinations. Subsequently, received their vaccinations, so the planning would involve the state of Florida prioritized persons 65 years of age and vaccinations for the entire community of more than 600 In- NSU Art Museum ............... 11 older, plus health care personnel with direct patient contact dependent Living residents and more than 600 employees. -
Michelangelo Biography
Michelangelo Biography Michelangelo (1475 – 1564) Italian Renaissance sculptor, painter, poet and architect. One of the most influential Western artists of all time. “I saw the angel in the marble and carved until I set him free. “ – Michelangelo Short biography of Michelangelo Michelangelo Buonarroti was born on 6 March 1475, in a Florentine village called Caprese. His father was a serving magistrate of the Florentine Republic and came from an important family. However, Michelangelo did not wish to imitate his father’s career, and was attracted by the artistic world. At the time, this was considered an inferior occupation for a family of his standing. But, aged 13, Michelangelo was apprenticed to Domenico Ghirlandaio, the leading fresco wall painter in Florence. Here Michelangelo learned some of the basic painting techniques, and also taught himself new skills such as sculpting. Madonna of the stairs – Michelangelo’s earliest works His talents were soon noticed by one of the most powerful families in Florence – Lorezo de’ Medici. Here, at de Medici’s court, Michelangelo was able to learn from the classic Masters and he became determined to improve upon the great classics of Greek and Latin art. Michelangelo, was born in the heart of the Renaissance movement, at exactly the right place – Florence. But, despite being at the heart of the Renaissance, Florence was undergoing tremendous political turmoil. His first patrons, the de Medici’s, lost power and Michelangelo was forced to look elsewhere for commissions. In 1496, he travelled to Rome where he began a long relationship of doing commissions for the Popes who were making St Peter’s Basilica a pinnacle of Western art. -
Ascanio Condivi (1525-1574) Discepolo E Biografo Di Michelangelo Buonarroti
DIPARTIMENTO DI STORIA DELL’ARTE E SPETTACOLO DOTTORATO DI RICERCA IN Strumenti e Metodi per la Storia dell’Arte Coordinatore: Chiar.ma Prof.ssa Silvia DANESI SQUARZINA Ascanio Condivi (1525-1574) discepolo e biografo di Michelangelo Buonarroti Tomo I TUTOR: DOTTORANDA: Chiar.ma Prof.ssa Dott.ssa Beniamina MAZZUCA Silvia DANESI SQUARZINA XXIV Ciclo (aa.aa. 2008-2011) A mio padre Un ringraziamento sentito rivolgo alla prof.ssa Silvia Danesi Squarzina, insostituibile guida nel lavoro di questi anni, segnati dai suoi preziosi insegnamenti. Un vivo grazie anche alla prof.ssa Costanza Barbieri per il sostegno, la disponibilità e la grande cortesia riservatemi. Con affetto e simpatia ringrazio Luca Calenne e Tiziana Checchi, che mi hanno aiutata nella trascrizione dei documenti, e tutti gli amici e colleghi, in particolare Laura, Francesca e Carlo. Alla mia famiglia, a Valentino e ai miei amici di sempre: grazie di tutto. Indice TOMO I Introduzione VIII 1. Ascanio Condivi (1525-1574) 1.1. Lo stato degli studi 1 1.2. Origini della famiglia Condivi 8 1.3. Nascita e formazione 9 1.4. Primo viaggio a Roma 10 1.5. Un caso di omonimia 12 1.6. Il soggiorno romano 14 1.7. Ritorno a Ripatransone: le nozze e il turbolento rapporto con Annibal Caro 17 1.8. L’elezione tra i membri dell’Accademia Fiorentina 22 1.9. Gli ultimi anni a Ripatransone e la morte 24 1.10. Le opere di Ascanio Condivi nei documenti dell’archivio storico di Ripatransone 27 1.11. La discendenza 31 1.12. I ritratti di Ascanio Condivi e dei suoi discendenti 33 2. -
The Holocaust Expropriated Art Recovery Act of 2016: an Ineffective Remedy for Returning Nazi-Looted Art
THE HOLOCAUST EXPROPRIATED ART RECOVERY ACT OF 2016: AN INEFFECTIVE REMEDY FOR RETURNING NAZI-LOOTED ART SOFFIA H. KUEHNER GRAY* During World War II, the Third Reich engineered the “greatest art theft in history,” stealing over 650,000 works of art from across Europe. Nearly a century later, many of these works are still missing or have yet to be reunited with their prewar owners. Despite substantial efforts to both facilitate and expedite the restitution process, it still remains relatively difficult for individuals to reclaim art stolen from their families by the Na- zis during the war. This Note first examines the processes through which countries—in particular, the United States—have handled art restitution. This Note then analyzes the Holocaust Expropriated Art Recovery Act (“HEAR”) and its potential effectiveness in providing a suitable remedy to the victims of the Nazi art theft. Ultimately, this Note suggests several modifications to HEAR so that it provides an effective remedy to the victims while still pro- tecting the interests of good-faith purchasers. TABLE OF CONTENTS I. INTRODUCTION ........................................................................................364 II. BACKGROUND ..........................................................................................367 A. Terminology .....................................................................................367 1. Restitution .................................................................................367 2. Provenance ...............................................................................368 -
Michelangelo Buonarroti Artstart – 3 Dr
Michelangelo Buonarroti ArtStart – 3 Dr. Hyacinth Paul https://www.hyacinthpaulart.com/ The genius of Michelangelo • Renaissance era painter, sculptor, poet & architect • Best documented artist of the 16th century • He learned to work with marble, a chisel & a hammer as a young child in the stone quarry’s of his father • Born 6th March, 1475 in Caprese, Florence, Italy • Spent time in Florence, Bologna & Rome • Died in Rome 18th Feb 1564, Age 88 Painting education • Did not like school • 1488, age 13 he apprenticed for Domenico Ghirlandaio • 1490-92 attended humanist academy • Worked for Bertoldo di Giovanni Famous paintings of Michelangelo The Sistine Chapel Ceiling – (1508-12) Vatican, Rome Famous paintings of Michelangelo Doni Tondo (Holy Family) (1506) – Uffizi, Florence Famous paintings of Michelangelo The Creation of Adam (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo Ignudo (1509) – Vatican, Rome Famous paintings of Michelangelo The Drunkenness of Noah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Deluge - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The First day of creation - - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Prophet Jeremiah - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The last Judgement - (1508-12) – Vatican, Rome Famous paintings of Michelangelo The Crucifixion of St. Peter - (1546-50) – Vatican, Rome Only known Self Portrait Famous paintings of Michelangelo -
Cultural Heritage and Sustainable Forest Management: the Role of Traditional Knowledge
CULTURAL HERITAGE AND SUSTAINABLE FOREST MANAGEMENT: THE ROLE OF TRADITIONAL KNOWLEDGE PROCEEDINGS OF THE CONFERENCE 8-11 June, 2006, Florence, Italy Volume 2. International Conference on Cultural Heritage and Sustainable Forest Management: the role of traditional knowledge, held on 8-11 June, 2006 in Florence, Italy Organized by: IUFRO Task Force on Traditional Forest Knowledge IUFRO Research Group on Forest and Woodland History Ministero Per le Politiche Alimentari, Agricole e Forestali – Roma Collaborating institutions USDA – Forest Service Italian Academy of Forestry Science Italian Forest State Corp University of Florence City of Florence Regional Government of Tuscany UNESCO World Heritage Centre FAO MCPFE Liaison Unit Warsaw Edited by: John Parrotta, Mauro Agnoletti & Elisabeth Johann Published by: Ministerial Conference on the Protection of Forests in Europe Liaison Unit Warsaw ul. Bitwy Warszawskiej 1920 r. nr 3 00-973 Warsaw, Poland tel.: +48 22 331 70 31 tel./fax: +48 22 331 70 32 e-mail: [email protected] www.mcpfe.org Disclaimer This publication comprises the presentations and outcome of the international conference Cultural Heritage and Sustainable Forest Management: the role of traditional knowledge, held on 8-11 June, 2006 in Florence, Italy. They refl ect the views of the authors which do not necessarily correspond to those of the Ministerial Conference on the Protection of Forests in Europe (MCPFE). Neither the authors ,editors, the MCPFE, nor any person acting on their behalf are responsible for the use which might be made of the information contained in this publication. Design, layout and production: www.meander.net.pl © Ministerial Conference on the Protection of Forests in Europe, 2006 VOLUME 2. -
Old Calabria by Norman Douglas
The Project Gutenberg EBook of Old Calabria, by Norman Douglas Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Old Calabria Author: Norman Douglas Release Date: January, 2005 [EBook #7385] [This file was first posted on April 23, 2003] Edition: 10 Language: English Character set encoding: ISO Latin-1 *** START OF THE PROJECT GUTENBERG EBOOK, OLD CALABRIA *** Eric Eldred OLD CALABRIA BY NORMAN DOUGLAS CONTENTS TABLE OF CONTENTS Contents ....................................................................................................................... 3 I SARACEN LUCERA ...................................................................................................... 5 II MANFRED'S TOWN ................................................................................................ -
Biographical Dates
BIOGRAPHICAL DATES 1475 March 6, born in the village of Caprese in Tuscany, second son of Lodovico (1444-1531) and Francesca. Lodovico, grandson of a successful banker and son of an unsuccessful banker in Florence, lived on a small income from land and occasional government posts; at this time he was Podesta (governor) of Caprese. March 31, Lodovico's term expired; the family doubtless returned to Florence. The oldest son, Lionardo (1473-1510) entered the Dominican order in Pisa in 1491 and played virtually no part in Michelangelo's life. 1477 May 26, brother Buonarroto bom. 1479 March 11, brother Giovansimone born. 1481 January 22, brother Gismondo bom. About this time the family was living in an apartment rented from Lodovico's brother-in-law, a dyer. December 6, mother died. 1485 Father's second marriage to Lucrezia Ubaldini (d. M97)- 1488 April 8, Michelangelo left grammar school and was apprenticed for three years to the painter Domenico Ghirlandaio. MICHELANGELO [1] 1489 Left Ghirlandaio and studied sculpture in the gar- den of Lorenzo de' Medici the Magnificent. 1492 Lorenzo the Magnificent died, succeeded by his old- est son Piero. 1494 Rising against Piero de' Medici, who fled (d. 1503). Republic re-established under Savonarola. October, Michelangelo fled and after a brief stay in Venice went to Bologna. 1495 In Bologna, carved three small statues which brought to completion the tomb of St. Dominic. Returned to Florence, carved the Cupid, sold to Baldassare del Milanese, a dealer. 1496 June, went to Rome. Carved the Bacchus for the banker Jacopo Galli. 1497 November, went to Carrara to obtain marble. -
Library Plans Winter Art Show Fundraiser,Monuments Men,CANCELLED: Artist Reception: Donna Albano,Lala Picasso – How It
Library Plans Winter Art Show Fundraiser The Easton Public Library is gearing up for an Art Show Fundraiser in early 2021 to benefit the Children’s Expansion Fund. Library Director Lynn Zaffino was recently approached by Keri English-Giddes, Founder/Director of the Easton Arts Center and Owner of LaLaPicasso LLC. English-Giddes made the generous offer to create an art show with some of her work, including pieces from her “Housepaint” series and demos from her remote lessons, to help raise money for the library. “I was just blown away by Keri’s offer,” Zaffino said. “I’ve known Keri for years, and she is such a warm, caring, energetic person. I so appreciate the fact that she wants to do this for the library.” “The Easton Public Library is the heart of the community, and has been an important aspect in the upbringing of my children,” said English-Giddes. “When my children were small, we attended every event possible. We’ve met some of our closest friends in town during these years. When I heard about the plans for the addition, it only made sense to have the proceeds from our next Easton Arts Center Children’s Art Exhibition and Silent Auction benefit the library and the new children’s expansion.” Due to COVID, not only was the auction canceled, but the kids lost the opportunity to create art. Since the special needs’ students needed their lessons and routine, English- Giddes began teaching online. Therefore, she needed to experiment with the “process” prior to their lessons as opposed to with them. -
Teachers' Resource
TEACHERS’ RESOURCE MICHELANGELO’S DREAM 18 FEBRUARY – 16 MAY 2010 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: UNDERSTANDING THE DREAM 3: MY SOUL TO MESSER TOMMASO 4: DRAWN IN DREAMS 5: MICHELANGELO’S POETRY 6: MICHELANGELO AND MUSIC 7: REGARDÉ: SONNETS IN MICHELANGELO’S AGE 8: IMAGE CD The Teachers’ Resources are intended for use by secondary schools, colleges and teachers of all subjects for their own research. Each essay is marked with suggested links to subject areas and key stage levels. We hope teachers and educators will use these resources to plan lessons, help organise visits to the gallery or gain further insight into the exhibitions at The Courtauld Gallery. FOR EACH ESSAY CURRICULUM LINKS ARE MARKED IN RED. Cover image and right: Michelangelo Buonarroti The Dream (Il Sogno) To book a visit to the gallery or to discuss c.1533 (detail) any of the education projects at Black chalk on laid paper The Courtauld please contact: Unless otherwise stated all images [email protected] © The Samuel Courtauld Trust, 0207 848 1058 The Courtauld Gallery, London WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. The Teachers’ Resources and Image CDs have proved immensely popular in their first year; my thanks go to all those who have contributed to this success and to those who have given us valuable feedback.