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Rembrandt Packet Aruni and Morgan.Indd
Rembrandt Harmenszoon Van Rijn Etchings Education Packet The Florida State University September 20- October 6 Museum of Fine Arts See website for updates of times, www.MOFA.fsu.edu hours and events. Table of Contents Rembrandt Harmenszoon van Rijn Biography ...................................................................................................................................................2 Rembrandt’s Styles and Influences ............................................................................................................ 3 Printmaking Process ................................................................................................................................4-5 Focus on Individual Prints: Landscape with Three Trees ...................................................................................................................6-7 Hundred Guilder .....................................................................................................................................8-9 Beggar’s Family at the Door ................................................................................................................10-11 Suggested Art Activities Three Trees: Landscape Drawings .......................................................................................................12-13 Beggar’s Family at the Door: Canned Food Drive ................................................................................14-15 Hundred Guilder: Money Talks ..............................................................................................16-18 -
2020 Good Friday Order of Service
first christian reformed church sioux center a reflection on the passion of our lord according to the gospel of John ~ good friday ~ april 10, 2020 order of service Prelude ~ “Were you There” Linker “O Sacred Head” Burkhardt Welcome Call to Worship Today we remember Jesus was crucified. He was pierced for our transgressions. He suffered and died for our iniquities. We remember the sacrifice of our Lord with gratitude because his death gives us life and brings redemption to the world. Let us worship our Savior. Prayer of Invocation O God, who for our redemption gave your only Son to the death of the cross, and by his glorious resurrection delivered us from the power of our enemy: grant us so to die daily to sin, that we may evermore live with him in the joy of his resurrection, now and forever. Prayers of Intercession and Illumination Hymn: “Let All Mortal Flesh Keep Silence,” verses 1-3 Hymn continued on the next page. Scripture Reading: John 18.1-14 ~ Jesus’ Arrest and Betrayal Hymn: “Meekness and Majesty” ~ Lif Up Your Hearts 157, verses 1-3 Verse 1: Verse 2: Meekness and majesty, manhood and Deity Father's pure radiance, perfect in innocence, in perfect harmony, the Man who is God. yet learns obedience to death on a cross, Lord of eternity dwells in humanity, suffering to give us life, conquering through sacrifice, kneels in humility, and washes our feet. and, as they crucify, prays, “Father forgive.” Chorus: Chorus Oh, what a mystery—meekness and majesty; bow down and worship, for this is your God. -
Fifty Short Sermons by T
FIFTY SHORT SERMONS BY T. De WITT TALMAGE COMPILED BY HIS DAUGHTER MAY TALMAGE NEW ^SP YORK GEORGE H. DORAN COMPANY TUB NBW YO«K PUBUC LIBRARY O t. COPYRIGHT, 1923, BY GEORGE H. DORAN COMPANY 1EW YO:;iC rUbLiC LIBRMIY ASTOR, LENOX AND TILDEN FOUNDATIONS R 1025 L FIFTY SHORT SERMONS BY T. DE WITT TALMAGE. II PRINTED IN THE UNITED STATES OF AMERICA y CONTENTS I The Three Crosses II Twelve Entrances . III Jordanic Passage . IV The Coming Sermon V Cloaks for Sin /VI The Echoes . VII A Dart through the Liver VIII The Monarch of Books . JX The World Versus the Soul ^ X The Divine Surgeon XI Music in Worship . XII A Tale Told, or, The Passing Years XIII What Were You Made For? XIV Pulpit and Press . XV Hard Rowing . XVI NoontiGe of Life . XVII Scroll oi Heroes XVIII Is Life Worth Living? , XIX Grandmothers , ,. j.,^' XX The Capstoii^''''' '?'*'''' XXI On Trial .... XXII Good Qame Wasted XXIII The Sensitiveness of Christ XXIV Arousing Considerations Ti CONTENTS PAGE XXV The Threefold Glory of the Church . 155 XXVI Living Life Over Again 160 XXVII Meanness of Infidelity 163 XXVIII Magnetism of Christ 168 XXIX The Hornet's Mission 176 XXX Spicery of Religion 182 XXXI The House on the Hills 188 XXXII A Dead Lion 191 XXXIII The Number Seven 196 XXXIV Distribution of Spoils 203 XXXV The Sundial of Ahaz 206 XXXVI The Wonders of the Hand . .210 XXXVII The Spirit of Encouragement . .218 XXXVIII The Ballot-Box 223 XXXIX Do Nations Die? 229 XL The Lame Take the Prey . -
Rembrandt's Three Crosses
Mildred Lane Kemper Art Museum Spotlight Series: October 2008 By Paul Crenshaw, assistant curator for prints and drawings and senior lecturer in art history One of the most dynamic prints ever made, Rembrandt van Rijn’s The Three Crosses (1653) displays technical innovation and engagement with the human subjectivity of Rembrandt van Rijn The Three Crosses, 1653 Drypoint (4th state), 15 1/4 x 17 13/16" Christ’s death. A torrential downpour of lines Gift of Dr. Malvern B. Clopton, 1930 envelopes dozens of figures on the hill of Rembrandt van Rijn Golgotha, where Christ is pictured crucified The Three Crosses, 1660-61 Etching and drypoint (4th state)tate) amidst the two thieves. Even though it is an 15 1/4 x 17 13/16 " Gift of Dr. Malvern B. Clopton, 1930 inherently tragic subject commonly portrayed in Christian tradition, never before had it been staged with such sweeping emotional force. Rembrandt was inspired by the text of the Gospels (Matthew 27:45–54) proclaiming that a darkness covered the land from noon to three o’clock, when Jesus cried out with a loud voice, “Elí, Elí, lemá sabachtháni?” (“My God, my God, why have you forsaken me?”). When Jesus died, the passage continues, the earth shook, rocks split, tombs opened, and the bodies of many sleeping saints arose. To achieve these supernatural effects, Rembrandt employed the kind of bold technical ingenuity that helped define him as one of the most significant printmakers of his age. The Kemper Art Museum impression is a fine example of the fourth state of the print, which gives a dramatically different tenor and narrative focus to his subject than earlier states did. -
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. -
Decision Tree Branch for Foolscap with Five-Pointed Collar Fall 2015
Are roundels in a pyramid form Decision Tree Branch for (2 below, 1 on top) or pointing - Second collar point & down (2 on top, 1 below) ball fully extend beyond front chain line — ► [lab, lac}- Front chain line Foolscap with Five-Pointed Collar *) bisects second collar on top ball from front Fall 2015 (pyramid) Are the peaks divided (stripes in cap)? YES n/a Ea, Eb, F, Q, H, J. K, L M. N. Q, S A, B. C. D. 0 . U in------------- --------------- FIG. 1 Decision branch diagram for Foolscap with Five-Pointed Collar watermark, developed by Louisa Smieska and Alison McCann, Fall 2015 Decision Trees and Fruitful Collaborations The Watermark Identification in Rembrandt’s Etchings (WIRE) Project at Cornell Andrew C. Weislogel with C. Richard Johnson, Jr., and contributions from students1 Any additions to the file of It is no exaggeration to say that Rembrandt’s etchings count among the most compelling examples of artistic watermarks that has been production in the history of Western culture. The many compiled will not only catalogues of the artist's prints compiled since 1751- describing multiple states, ordering works by subject improve our understanding of matter or by date, distinguishing his work from that of his pupils, and identifying copies and posthumous impressions Rembrandts progress on his —attest to the enduring fascination with Rembrandt’s plates, but will enable us to technical experimentation and his versatility in interpreting the human psyche and capturing the natural world. Not test and refine the conclusions surprisingly, the complexity and artistic creativity of these prints continue to inspire scholarly research, technical reached so far.2—Erik Hinterding investigation, and multidisciplinary teaching approaches. -
Renaissance and Baroque Prints: Investigating the Collection September 8, 2017–January 8, 2018
Educator’s Guide Renaissance and Baroque Prints: Investigating the Collection September 8, 2017–January 8, 2018 ABOUT THIS GUIDE This guide is designed as a multidisciplinary companion for high school educators bringing their students to view Renaissance and Baroque Prints, on view at the Mildred Lane Kemper Art Museum from September 8, 2017, to January 8, 2018. Our intent is to offer a range of learning objectives, gallery discussions, and post-visit suggestions to stimulate the learning process, encourage dialogue, and help make meaning of the art presented. Teachers should glean from this guide what is most relevant and useful to their students. ABOUT THE EXHIBITION Renaissance and Baroque Prints surveys the Kemper Art Museum’s substantial holdings of European prints from the late fifteenth to eighteenth centuries. Printmaking during the Renaissance and Baroque eras served a wide variety of purposes. As part of the Renaissance in Italy and Northern Europe, artists developed sophisticated techniques and explored various themes that elevated the print to an important art form in its own right. In the Baroque era printmaking continued to flourish as artists experimented with new techniques and dramatic expressive effects. Exhibition highlights include work by major innovators of printmaking such as Albrecht Dürer (1471–1528) and Rembrandt van Rijn (1606– 1669). Albrecht Dürer (German, 1471–1528), Melencolia I, 1514. Engraving, 9 3/8 x INTERDISCIPLINARY CONNECTIONS 7 5/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Transfer from Olin Library, Washington University, 1977. Architecture, Art, Art History, Baroque History, European History, Mythology, Printmaking, Religious Studies, Renaissance History LEARNING OBJECTIVES Students will explore innovative printmakers and popular themes represented. -
Etchings of Rembrandt
HAROLD B. UEE LIBRAHY BRIGHAM YOUNG UHlVBRSiTY PROVO, UTAH Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/etchingsofrenibraOOhind ETCHINGS OF REMBRANDT THE GREAT ETCHERS 7^,J4« ^^ ETCHINGS OF REMBRANDT LONDON.GEORGE NEWNES LIMITED SOUTHAMPTON STREET. STRANDw.c. NEW YORK CHARLES SCRIBNEKS SONS TiiK Hai.i.antynk Pur.ss 'lAViSTorK St., Lonuon THE LIBRARY BRIGHAM YOUNG UNIVERSITY PROVO, UTAH LIST OF ILLUSTRATIONS PLATE REMBRANDT DRAWING AT A WINDOW, 1648 (Frontispiece) REMBRANDT'S FATHER, (?) 1630 i REMBRANDT'S MOTHER, 1628 11 iii REMBRANDT WEARING A SOFT CAP (1631) . REMBRANDT IN A CAP, LAUGHING, 1630 . iv REMBRANDT'S MOTHER, 1631 v REMBRANDT'S MOTHER SEATED AT A TABLE (1631) . vi REMBRANDT WEARING A SOFT HAT, 1631 ... vii CHRIST DISPUTING WITH THE DOCTORS (1630) . viii THE BLIND FIDDLER, 163 1 ix THE RAISING OF LAZARUS (1632) x THE RAT-KILLER, 1632 xi THE PAN-CAKE WOMAN, 1635 xii THE QUACKSALVER, 1635 xiii REMBRANDT AND HIS WIFE SASKIA, 1636 . xiv REMBRANDT'S WIFE SASKIA, 1634 xv THREE HEADS OF WOMEN (1637) xvi A YOUNG MAN IN A VELVET CAP, 1637 . xvii THE RETURN OF THE PRODIGAL SON, 1636 . xviii THE DEATH OF THE VIRGIN, 1639 . xix DEATH APPEARING TO A WEDDED COUPLE, 1639 . xx THE SICK WOMAN (1642) xxi JAN UYTENBOGAERT, 1635 xxii REMBRANDT LEANING ON A STONE SILL, 1639 . xxiii CORNELIS CLAESZ ANSLO, 1641 xxiv JAN ASSELYN (1647) xxv JAN SIX, 1647 XXVI THE RAISING OF LAZARUS : THE SMALLER PLATE, 1642 ........... XXVII THE HOG, 1643 XXVIII THE THREE TREES, 1643 xxix THE OMVAL, 1 645 xxx SIX'S BRIDGE, 1645 XXXI CHRIST CARRIED TO THE TOMB, 164c ... -
Art History Round 1 Prelims
Art History Round 1 Prelims 1. While in New York, this artist depicted the vertical convergence of skyscrapers in City Night and showed the Radiator Building at night in another work. This artist painted the view from underneath a redtrunked tree in The Lawrence Tree and black, gold, and red hills lying behind a black cross. A view from an airplane inspired a work with white ovals in front of a pink horizon in her Sky Above Clouds IV. She painted the “White” and “Black” places while in New Mexico. For the pointname this American artist who painted many cow skulls. ANSWER: Georgia O’Keeffe 2. Name the artist. ANSWER: Leonardo Da Vinci 3. One work by this artist depicts a cannonball on an orange floor in front of the beach, while another with the same name shows an easel depicting the landscape behind it. The artist of The Human Condition depicted a black clock and a mantle with a train coming through it. A man in a bowler hat has his face obscured by an apple in another of his works, while he created an image of a pipe with the text “This is not a pipe.” For the pointname this painter of The Treachery of Images, The Son of Man, and Time Transfixed, a Belgian surrealist. ANSWER: Rene Magritte 4. Name the architect. ANSWER: Frank Lloyd Wright 5. Lysippos produced portrait busts of this leader including on copied in the surviving “Azara Hern.” A Danube school painting of one of the this king’s battles includes explanatory text on a floating tablet in the sky. -
Download the Full Catalog
Film Catalog Copyright 2007 Arts on Film Archive Title Date Director Synopsis Artists Must Live 1953 John Read The role of the artist in 20th century Britain, the problems faced by artists, (particularly those whose work is less mainstream), and the opportunities offered by sponsors such as the Arts Council and the British Council and commercial companies; work featured is by Keith Vaughan (1912-1976), Reg Butler (1913-1981), Henry Moore (1898-1986), Graham Sutherland (1903-1980) Jacob Epstein (1880-1959), and others. Black on White. A review of some British cartoons and 1954 John Read Political caricature in Britain, featuring the work of WIlliam Hogarth (1697-1764), James Gillray (1757-1815), George Cruikshank (1792-1878), Australian-born Will Dyson caricatures of the last 200 years (1880-1938), New Zealander, David Low (1891-1963), and others. Graham Sutherland 1954 John Read The work of English painter, Graham Sutherland (1903-1980), showing examples of his landscapes, portraits, etc., and concluding with the artist describing his style and methods. John Piper 1955 John Read The work of British painter, John Piper (1903-1992), including architectural paintings, theatrical costume and set designs, abstract work, as well as a sequence showing the artist producing an aquatint. Stained Glass at Fairford 1956 Basil Wright A study of the mediaeval stained glass (1497) in the church of St Mary the Virgin, Fairford, Gloucestershire, explaining its design and use as an aid for Bible instruction. Vision of William Blake 1958 Guy Brenton The personal philosophy of English visionary painter and writer, William Blake (1757-1827) as expressed in his work. -
REMBRANDT the LATE WORKS Supplement with Provenance, Selected Literature and Bibliography
REMBRANDT THE LATE WORKS supplement with provenance, selected literature and bibliography Marjorie E. Wieseman, Jonathan Bikker, Erik Hinterding and Marijn Schapelhouman With Albert Godycki and Lelia Packer A list of works included in the exhibitions The Agony in the Garden, about 1648–55 Clump of Trees with a Vista, 1652 at the National Gallery, London (15 October Pen and brush and brown ink, 19.6 × 19 cm Drypoint, 15.6 × 21.1 cm (i); 12.4 × 21.1 cm (ii) 2014–18 January 2015) and the Rijksmuseum, The Syndics of the Fitzwilliam Museum, Signed and dated lower right: Rembrandt. f 1652 Amsterdam (12 February 2015–17 May 2015). Cambridge (2140) (in state ii) Works illustrated in the exhibition catalogue [cat. 116] White and Boon 222; nhd 272 Rembrandt: The Late Works are followed by their catalogue number in square brackets. provenance i/ii: Ashmolean Museum, Oxford Works exhibited in only one venue are Samuel Woodburn (1783–1853) (wa1855.425) indicated by ‘London’ or ‘Amsterdam’ Possibly sale London (Christie’s), 4 ff. June [london, cat. 10] beside their catalogue number. 1860, under lot 766 (£2, to Colnaghi) i/ii: Rijksmuseum, Amsterdam Collection Frederick, Lord Leighton (1830–96) (printed with irregular surface tone, To cite this Supplement we suggest using His sale London (Christie’s), 15–16 July 1896, rp-p-ob-454) M.E. Wieseman, J. Bikker et al., Rembrandt: lot 427 (16 gns., to Dunthorne) [amsterdam, cat. 59] The Late Works, Supplement, online edn, Ricketts and Shannon; bequeathed in 1937 by ii/ii: The Syndics of the Fitzwilliam Museum, National Gallery, London 2014, Charles Haslewood Shannon Cambridge (printed with surface tone, www.nationalgallery.org.uk/rembrandt/ ad.12.39-388) the_late_works/supplement. -
REMBRANDT and the PASSION the Fitzw Illiam M Useum
REMBRANDT AND THE PASSION Prints by Rembrandt van Rijn (1606-1669) All the prints in this exhibition illustrate the subject of prints in this exhibition, however, concentrate on the Christ’s Passion, from the Last Supper to his Passion themes that appealed most to Rembrandt and appearance to his Disciples after the Resurrection. The his audience as individual subjects, and it is the subject had been treated many times in Northern repetition of those subjects at various stages of European prints, often as a complete series of a more- Rembrandt’s career that allows us to determine the or-less established set of episodes from the story. consistency or development of his approach. Rembrandt had a keen interest in earlier prints, and In many ways the least typical of the prints on would have been familiar with the three famous display are two of the most ambitious in terms of size Passion sets by Dürer and the set by Lucas van Leyden. and composition. These are Christ before Pilate of 1635-6 The usual subjects were: The Man of Sorrows; The Last and The Descent from the Cross of 1633. Here Rembrandt Supper; The Agony in the Garden; The Betrayal of Christ; is evidently competing with the Flemish example set a Christ before Caiaphas; Christ before Pilate; The Flagellation; few years earlier by Rubens, who oversaw the engraving Christ crowned with Thorns; Ecce Homo (Christ Presented to the of large ambitious plates after his altarpieces in People); Pilate washing his Hands; The Bearing of the Cross; Antwerp and elsewhere. Recent examination of the The Crucifixion; The Lamentation; The Descent from the Cross; paper used for Rembrandt’s two prints has shown that Christ in Limbo (The Harrowing of Hell); and The the proofs were almost certainly printed in Leiden by Resurrection.