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Portraits of the Most Sane
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Portraits of the Most Sane David Leonard Mamukelashvili Bard College Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Other History of Art, Architecture, and Archaeology Commons, Political History Commons, and the Social History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Mamukelashvili, David Leonard, "Portraits of the Most Sane" (2017). Senior Projects Spring 2017. 173. https://digitalcommons.bard.edu/senproj_s2017/173 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Portraits of the Most Sane Senior Project Submitted to the Division of the Arts of Bard College By David Mamukelashvili Annandale-on-Hudson, NY May 2017 Acknowledgments I do not know whether I’ll ever be able to demonstrate or show what these five people, I’m about to name, have meant to me over these four years at Bard. I think the only way to repay you is to always hold myself to the standards that you’ve held me to. -
Second International Congress of Art History Students Proceedings !"#$%&&'"
SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&&'" !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) (*%+,)%-$ #,-)* Jelena Behaim, Kristina Brodarić, Lucija Bužančić, Ivan Ferenčak, Jelena Mićić, Irena Ravlić, Eva Žile )(.%(/()& Tanja Trška, Maja Zeman (*%+%01 -0* !),,2)(-*%01 Ivana Bodul, Kristina Đurić, Petra Fabijanić, Ana Kokolić, Tatjana Rakuljić, Jasna Subašić, Petra Šlosel, Martin Vajda, Ira Volarević *(&%10 + $-3,"+ Teo Drempetić Čonkić (oprema čonkić#) The Proceedings were published with the financial support from the Faculty of Humanities and Social Sciences in Zagreb. SECOND INTERNATIONAL CONGRESS OF ART HISTORY STUDENTS PROCEEDINGS !"#$%&'() Klub studenata povijesti umjetnosti Filozofskog fakulteta (Art History Students' Association of the Faculty of Humanities and Social Sciences) %&#* 978-953-56930-2-4 Zagreb, 2014 ƌ TABLE OF CONTENTS ! PREFACE " IS THERE STILL HOPE FOR THE SOUL OF RAYMOND DIOCRÈS? THE LEGEND OF THE THREE LIVING AND THREE DEAD IN THE TRÈS RICHES HEURES — )*+,- .,/.0-12 #" THE FORGOTTEN MACCHINA D’ALTARE IN THE CHURCH LADY OF THE ANGELS IN VELI LOŠINJ — 3*/+, 45*6),7 $% GETTING UNDER THE SURFACE " NEW INSIGHTS ON BRUEGEL’S THE ASS AT SCHOOL — 8*69/* +*906 &' THE FORMER HIGH ALTAR FROM THE MARIBOR CATHEDRAL — -*706:16* 5*-71; (% EVOCATION OF ANTIQUITY IN LATE NINETEENTH CENTURY ART: THE TOILETTE OF AN ATHENIAN WOMAN BY VLAHO BUKOVAC — *6* 8*3*/9<12 %& A TURKISH PAINTER IN VERSAILLES: JEAN#ÉTIENNE LIOTARD AND HIS PRESUMED PORTRAIT OF MARIE!ADÉLAÏDE OF FRANCE DRESSED IN TURKISH COSTUME — =,)*6* *6.07+,-12 ># IRONY AND IMITATION IN GERMAN ROMANTICISM: MONK BY THE SEA, C.$D. -
Ancient Egyptian Chronology.Pdf
Ancient Egyptian Chronology HANDBOOK OF ORIENTAL STUDIES SECTION ONE THE NEAR AND MIDDLE EAST Ancient Near East Editor-in-Chief W. H. van Soldt Editors G. Beckman • C. Leitz • B. A. Levine P. Michalowski • P. Miglus Middle East R. S. O’Fahey • C. H. M. Versteegh VOLUME EIGHTY-THREE Ancient Egyptian Chronology Edited by Erik Hornung, Rolf Krauss, and David A. Warburton BRILL LEIDEN • BOSTON 2006 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Ancient Egyptian chronology / edited by Erik Hornung, Rolf Krauss, and David A. Warburton; with the assistance of Marianne Eaton-Krauss. p. cm. — (Handbook of Oriental studies. Section 1, The Near and Middle East ; v. 83) Includes bibliographical references and index. ISBN-13: 978-90-04-11385-5 ISBN-10: 90-04-11385-1 1. Egypt—History—To 332 B.C.—Chronology. 2. Chronology, Egyptian. 3. Egypt—Antiquities. I. Hornung, Erik. II. Krauss, Rolf. III. Warburton, David. IV. Eaton-Krauss, Marianne. DT83.A6564 2006 932.002'02—dc22 2006049915 ISSN 0169-9423 ISBN-10 90 04 11385 1 ISBN-13 978 90 04 11385 5 © Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
French Art, Classic and Contemporary, Painting and Sculpture
NYPL RESEARCH LIBRARIES 3 3433 08191162 4 Virt-*'.', FRENCH ART THE HEW YORK PDBLIC LIB4^ARY ASTOK, LENOX Tli-DEN FOUNDATIONS / / "W Y( J SCRIB] 1 90J NG THE DAWN / FRENCH ART CLASSIC AND CONTEMPORARY PAINTING AND SCULPTURE BY W. C. BROWNELL NEW AND ENLARGED EDITION WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 1901 COPYRIGHT, 1892, 1901, BY CHARLES SCRIBNEr's SONS PUBLISHED OCTOBER, 1901 THE NEW r, yc>^Y "y BUG LIBRARY ' ' i "» —f A S< » , TILBSN Pi»-JNBATIO«« D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON TO AUGUSTE RODIN Advantage has been taken of the present ilkistrated edition of this book to add a chapter on "Rodin and the Institute," in which the progress of what ten years ago was altogether a "new movement in sculpture," is further considered. Except in sculpture, and in the sculpture of Rodin and that more or less directly in- fluenced by him, thei-e has been no new phase of French art developed within the decade — at least none important enough to impose other additions to the text of a work so general in character. CONTENTS I. CLASSIC PAINTING 1 I. CHARACTER AND ORIGIN II. CLAUDE AND POUSSIN III. LEBRUN AND LESUEUR IV. LOUIS QUINZE V. GREUZE AND CHARDIN VI. DAVID, INGRES, AND PRUDHON II. ROMANTIC PAINTING 39 I. ROMANTICISM II. GERICAULT AND DELACROIX III. THE FONTAINEBLEAU GROUP IV. THE ACADEMIC PAINTERS V. COUTURE, PUVIS DE CHAVANNES, AND REGNAULT III. REALISTIC PAINTING 75 I. REALISM II. COURBET AND BASTIEN-LEPAGE III. THE LANDSCAPE PAINTERS ; FROMENTIN AND GUILLAUMET IV. HISTORICAL AND PORTRAIT PAINTERS V. -
Pharaohs in Egypt Fathi Habashi
Laval University From the SelectedWorks of Fathi Habashi July, 2019 Pharaohs in Egypt Fathi Habashi Available at: https://works.bepress.com/fathi_habashi/416/ Pharaohs of Egypt Introduction Pharaohs were the mighty political and religious leaders who reigned over ancient Egypt for more than 3,000 years. Also known as the god-kings of ancient Egypt, made the laws, and owned all the land. Warfare was an important part of their rule. In accordance to their status as gods on earth, the Pharaohs built monuments and temples in honor of themselves and the gods of the land. Egypt was conquered by the Kingdom of Kush in 656 BC, whose rulers adopted the pharaonic titles. Following the Kushite conquest, Egypt would first see another period of independent native rule before being conquered by the Persian Empire, whose rulers also adopted the title of Pharaoh. Persian rule over Egypt came to an end through the conquests of Alexander the Great in 332 BC, after which it was ruled by the Hellenic Pharaohs of the Ptolemaic Dynasty. They also built temples such as the one at Edfu and Dendara. Their rule, and the independence of Egypt, came to an end when Egypt became a province of Rome in 30 BC. The Pharaohs who ruled Egypt are large in number - - here is a selection. Narmer King Narmer is believed to be the same person as Menes around 3100 BC. He unified Upper and Lower Egypt and combined the crown of Lower Egypt with that of Upper Egypt. Narmer or Mena with the crown of Lower Egypt The crown of Lower Egypt Narmer combined crown of Upper and Lower Egypt Djeser Djeser of the third dynasty around 2670 BC commissioned the first Step Pyramid in Saqqara created by chief architect and scribe Imhotep. -
AQA GCE Mark Scheme June 2004
GCE 2004 June Series abc Mark Scheme History of Art (Component Code HOA6) Mark schemes are prepared by the Principal Examiner and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation meeting attended by all examiners and is the scheme which was used by them in this examination. The standardisation meeting ensures that the mark scheme covers the candidates’ responses to questions and that every examiner understands and applies it in the same correct way. As preparation for the standardisation meeting each examiner analyses a number of candidates’ scripts: alternative answers not already covered by the mark scheme are discussed at the meeting and legislated for. If, after this meeting, examiners encounter unusual answers which have not been discussed at the meeting they are required to refer these to the Principal Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of candidates’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. www.theallpapers.com Copyright © 2004 AQA and its licensors www.XtremePapers.net Further copies of this Mark Scheme are available from: Publications Department, Aldon House, 39, Heald Grove, Rusholme, Manchester, M14 4NA Tel: 0161 953 1170 or download from the AQA website: www.aqa.org.uk Copyright © 2004 AQA and its licensors COPYRIGHT AQA retains the copyright on all its publications. -
GCE Mark Scheme June 06
Version 1.0: 1106 abc General Certificate of Education History of Art 6251 HOA6 Historical Study 2 Mark Scheme 2006 examination - June series Mark schemes are prepared by the Principal Examiner and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation meeting attended by all examiners and is the scheme which was used by them in this examination. The standardisation meeting ensures that the mark scheme covers the candidates’ responses to questions and that every examiner understands and applies it in the same correct way. As preparation for the standardisation meeting each examiner analyses a number of candidates’ scripts: alternative answers not already covered by the mark scheme are discussed at the meeting and legislated for. If, after this meeting, examiners encounter unusual answers which have not been discussed at the meeting they are required to refer these to the Principal Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of candidates’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Copyright © 2006 AQA and its licensors. All rights reserved. HOA6 – AQA GCE Mark Scheme, 2006 June series HOA6-Historical Study 2 Maximum mark: 20 Band 5 17-20 marks Either A fully developed answer with a secure knowledge and understanding of artefacts, their context and, if required, their presentation. -
Musée Du Louvre
MUSÉE DU LOUVRE Métro to here. Walk underground following arrows. Sully WING DENON WING The Louvre is the world’s largest palace and the world’s largest museum. It is the second-most visited museum in Europe, the Vatican Museum being the most visited. For centuries it was the lavish and richly-decorated palace for the kings of France. It houses countless paintings, sculptures, and jewels mostly acquired as the “spoils of battle.” It is the home of the Mona Lisa, Venus de Milo, Winged Victory, and thousands of the most famous paintings in the world. Its treasures span history from antiquity up to the 19th century Romantic era. Cost: €9, €6 after 16:00 on Wednesday and Friday. Free on the first Sunday of the month from October to March. Free to those under 25 years. Included in the Paris Museum Pass. Hours: Wednesday to Monday: 9:00-18:00. CLOSED TUESDAY. Most wings open until 21:45 on Wednesdays and Fridays. Galleries start closing thirty minutes early. The last entry is 45 minutes before closing. Tel. 01 40 20 53 17. http://www.louvre.fr. Location: Take the Métro to the Palais Royal-Musée du Louvre. This is at the underground mall and will give you direct access to the Louvre entrance. The stop called Louvre-Rivoli is farther from the entrance, DON’T make the mistake of getting off here as it will cause unnecessary walking and standing in the queue. Follow the signs “Musée du Louvre” from the Métro station. Walk through the shopping mall until you get to a main intersection with the “inverted pyramid” (There is a Virgin store nearby). -
Découvrez Le Louvre Avec La Bible
Philippe MATTMANN Découvrez le Louvre Avec la Bible Une visite rapide ► www.louvrebible.org Découvrez le Louvre Avec la Bible Une visite rapide Philippe Mattmann ISBN 979-10-92487-00-8 © 2012 Philippe Mattmann © www.LouvreBible.org 2 Ce livre est une invitation à un voyage, à la fois lointain et proche, entre rives de Babylone et boucles de la Seine. Sous nos yeux, deux architectures monumentales. D’abord celle du Louvre, garde-trésor et garde-mémoire des temps modernes. Ensuite celle, majestueuse, de la Bible, le livre des livres. Entre les deux, mille passerelles guidant le visiteur ou le lecteur au gré du temps et des lieux enfouis ; de la vallée des Rois à Suse le château, des campagnes de Moab aux portes de Persépolis, en passant par le palais de Khorsabad et la ziggourat d’Uruk. Mille objets aussi : chapiteaux, prismes, bas-reliefs, figurines et une multitude d’autres œuvres, entre grandiose et trivial. Sous cet éclairage matériel, le texte biblique se colore, comme si la ligne de taille du sculpteur ou du graveur suivait le trait de calame du scribe ou du copiste. Passée l’émotion de la rencontre avec l’objet, que reste-t-il ? Qu’ont donc à nous dire stèles et ostraca, tablettes et sceaux-cylindres ? Les artefacts ne manquent pas ; les artifices non plus. Tous ces témoins du passé disent-ils la vérité ? Le texte biblique est-il fiable ? Médecin de formation, Philippe Mattmann sait que l’artefact, c’est aussi l’altération causée par l'intervention scientifique. Si le temps et la main de l’homme peuvent mutiler une inscription, l’interprétation historique et archéologique aussi. -
GCE History of Art Unit 6
Version 1.0: 0608 abc General Certificate of Education History of Art 6251 HOA6 Historical Study 2 Mark Scheme 2008 examination - June series Mark schemes are prepared by the Principal Examiner and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation meeting attended by all examiners and is the scheme which was used by them in this examination. The standardisation meeting ensures that the mark scheme covers the candidates’ responses to questions and that every examiner understands and applies it in the same correct way. As preparation for the standardisation meeting each examiner analyses a number of candidates’ scripts: alternative answers not already covered by the mark scheme are discussed at the meeting and legislated for. If, after this meeting, examiners encounter unusual answers which have not been discussed at the meeting they are required to refer these to the Principal Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of candidates’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this Mark Scheme are available to download from the AQA Website: www.aqa.org.uk Copyright © 2008 AQA and its licensors. All rights reserved. COPYRIGHT AQA retains the copyright on all its publications. However, registered centres for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to centres to photocopy any material that is acknowledged to a third party even for internal use within the centre. -
AQA GCE Mark Scheme June 2005
Version 1.0: 0805 abc General Certificate of Education History of Art 6251 HOA6 Historical Study 2 Mark Scheme 2005 examination - June series Mark schemes are prepared by the Principal Examiner and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation meeting attended by all examiners and is the scheme which was used by them in this examination. The standardisation meeting ensures that the mark scheme covers the candidates’ responses to questions and that every examiner understands and applies it in the same correct way. As preparation for the standardisation meeting each examiner analyses a number of candidates’ scripts: alternative answers not already covered by the mark scheme are discussed at the meeting and legislated for. If, after this meeting, examiners encounter unusual answers which have not been discussed at the meeting they are required to refer these to the Principal Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of candidates’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Copyright © 2005 AQA and its licensors. All rights reserved. HOA6 – AQA GCE Mark Scheme, 2005 June series HOA6 – Historical Study 2 Maximum mark: 20 Band 5 17-20 marks Either A fully developed answer with a secure knowledge and understanding of artefacts, their context and, if required, their presentation. -
Mona Lisa Is Alone, but Still Smiling - the New York Times
26/01/2021 Mona Lisa Is Alone, but Still Smiling - The New York Times https://nyti.ms/3c9e1bq PARIS DISPATCH Mona Lisa Is Alone, but Still Smiling With the Louvre closed because of the pandemic, museum officials are pushing ahead on a grand restoration and cleanup. By Liz Alderman Photographs and Video by Dmitry Kostyukov Jan. 26, 2021 Updated 8:30 a.m. ET PARIS — From her bulletproof case in the Louvre Museum, Mona Lisa’s smile met an unfamiliar sight the other morning: Emptiness. The gallery where throngs of visitors swarmed to ogle her day after day was a void, deserted under France’s latest coronavirus confinement. Around the corner, the Winged Victory of Samothrace floated quietly above a marble staircase, majestic in the absence of selfie-sticks and tour groups. In the Louvre’s medieval basement, the Great Sphinx of Tanis loomed in the dark like a granite ghost from behind bars. Yet out of the rare and monumental stillness, sounds of life were stirring in the Louvre’s great halls. The rat-a-tat of a jackhammer echoed from a ceiling above the Sphinx’s head. Rap music thumped from the Bronze Room under Cy Twombly’s ceiling in the Sully Wing, near where workers were sawing parquet for a giant new floor. In Louis XIV’s former apartments, restorers in surgical masks climbed scaffolding to tamp gold leaf onto ornate moldings. The world’s most visited museum — a record 10 million in 2019, mostly from overseas — is grappling with its longest closure since World War II, as pandemic restrictions keep its treasures under lock and key.