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THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M. -
Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry
religions Article Politics of the Blessed Lady: Catholic Art in the Contemporary Hungarian Culture Industry Marc Roscoe Loustau McFarland Center for Religion, Culture and Ethics, College of the Holy Cross, Worcester, MA 02131, USA; [email protected] or [email protected]; Tel.: +1-857-222-6955 Abstract: I examine Hungary’s Catholic arts industry and its material practices of cultural production: the institutions and professional disciplines through which devotional material objects move as they become embedded in political processes of national construction and contestation. Ethnographic data come from thirty-six months of fieldwork in Hungary and Transylvania, and focuses on three museum and gallery exhibitions of Catholic devotional objects. Building on critiques of subjectivity- and embodiment-focused research, I highlight how the institutional legacies of state socialism in Hungary and Romania inform a national politics of Catholic materiality. Hungarian cultural institutions and intellectuals have been drawn to work with Catholic art because Catholic material culture sustains a meaningful presence across multiple scales of political contestation at the local, regional, and state levels. The movement of Catholic ritual objects into the zone of high art and cultural preservation necessitates that these objects be mobilized for use within the political agendas of state-embedded institutions. Yet, this mobilization is not total. Ironies, confusions, and contradictions continue to show up in Transylvanian Hungarians’ historical memory, destabilizing these political uses. Keywords: Catholicism; nationalism; art; Virgin Mary; Hungary; Romania Citation: Loustau, Marc Roscoe. 2021. Politics of the Blessed Lady: Catholic Art in the Contemporary 1. Introduction Hungarian Culture Industry. Religions The growing body of historical and anthropological literature on Catholic devotional 12: 577. -
Ribera's Drunken Silenusand Saint Jerome
99 NAPLES IN FLESH AND BONES: RIBERA’S DRUNKEN SILENUS AND SAINT JEROME Edward Payne Abstract Jusepe de Ribera did not begin to sign his paintings consistently until 1626, the year in which he executed two monumental works: the Drunken Silenus and Saint Jerome and the Angel of Judgement (Museo di Capodimonte, Naples). Both paintings include elaborate Latin inscriptions stating that they were executed in Naples, the city in which the artist had resided for the past decade and where he ultimately remained for the rest of his life. Taking each in turn, this essay explores the nature and implications of these inscriptions, and offers new interpretations of the paintings. I argue that these complex representations of mythological and religious subjects – that were destined, respectively, for a private collection and a Neapolitan church – may be read as incarnations of the city of Naples. Naming the paintings’ place of production and the artist’s city of residence in the signature formulae was thus not coincidental or marginal, but rather indicative of Ribera inscribing himself textually, pictorially and corporeally in the fabric of the city. Keywords: allegory, inscription, Naples, realism, Jusepe de Ribera, Saint Jerome, satire, senses, Silenus Full text: http://openartsjournal.org/issue-6/article-5 DOI: http://dx.doi.org/10.5456/issn.2050-3679/2018w05 Biographical note Edward Payne is Head Curator of Spanish Art at The Auckland Project and an Honorary Fellow at Durham University. He previously served as the inaugural Meadows/Mellon/Prado Curatorial Fellow at the Meadows Museum (2014–16) and as the Moore Curatorial Fellow in Drawings and Prints at the Morgan Library & Museum (2012–14). -
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Journal of Arts & Humanities Volume 09, Issue 06, 2020: 01-11 Article Received: 26-04-2020 Accepted: 05-06-2020 Available Online: 13-06-2020 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v9i6.1920 Caravaggio and Tenebrism—Beauty of light and shadow in baroque paintings Andy Xu1 ABSTRACT The following paper examines the reasons behind the use of tenebrism by Caravaggio under the special context of Counter-Reformation and its influence on later artists during the Baroque in Northern Europe. As Protestantism expanded throughout the entire Europe, the Catholic Church was seeking artistic methods to reattract believers. Being the precursor of Counter-Reformation art, Caravaggio incorporated tenebrism in his paintings. Art historians mostly correlate the use of tenebrism with religion, but there have also been scholars proposing how tenebrism reflects a unique naturalism that only belongs to Caravaggio. The paper will thus start with the introduction of tenebrism, discuss the two major uses of this artistic technique and will finally discuss Caravaggio’s legacy until today. Keywords: Caravaggio, Tenebrism, Counter-Reformation, Baroque, Painting, Religion. This is an open access article under Creative Commons Attribution 4.0 License. 1. Introduction Most scholars agree that the Baroque range approximately from 1600 to 1750. There are mainly four aspects that led to the Baroque: scientific experimentation, free-market economies in Northern Europe, new philosophical and political ideas, and the division in the Catholic Church due to criticism of its corruption. Despite the fact that Galileo's discovery in astronomy, the Tulip bulb craze in Amsterdam, the diplomatic artworks by Peter Paul Rubens, the music by Johann Sebastian Bach, the Mercantilist economic theories of Colbert, the Absolutism in France are all fascinating, this paper will focus on the sophisticated and dramatic production of Catholic art during the Counter-Reformation ("Baroque Art and Architecture," n.d.). -
Domenichino's Scenes from the Life
DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION by Emily Freeman Bachelor of Arts, 2005 The University of Texas at Austin Austin, Texas Submitted to the Faculty Graduate Division of the College of Fine Arts Texas Christian University in partial fulfillment of requirements for the degree of MASTER OF ARTS May 2008 DOMENICHINO’S SCENES FROM THE LIFE OF ST. CECILIA: ARTISTIC INTERPRETATION AND THE COUNTER-REFORMATION Thesis approved: Major Professor, Dr. Babette Bohn Dr. Mark Thistlethwaite Dr. Nadia Lahutsky Graduate Studies Representative For the College of Fine Arts ii Copyright © 2008 by Emily Freeman All Rights Reserved iii TABLE OF CONTENTS List of Illustrations.................................................................................................. v Introduction............................................................................................................. 1 St. Cecilia and the Revival of Her Cult................................................................... 4 St. Cecilia in Art and Literature............................................................................ 13 Early Life and the Carracci Academy................................................................... 22 Conclusion ............................................................................................................ 43 Images................................................................................................................... 45 Bibliography ........................................................................................................ -
Caecilia V84n04 1957
A .. It '.•... _b /J_J.L_'~- /JL.~'...._L m. .' ~ fIlIWDUIJ.&If-- (,"Uw-UC·~UUu.lLo . AdLC (lal.ici.I~·.Polyphony IlItatholic:Worship . Francis A. Brunner,e.Se.R. IheRolllanChoirs ... ..... ... .. Rev. Richard' J.Schuler votUME84,. NO.·. 4 DECEMBER,., .19.57 CAECILIA Published four times a year, February, May, August and December. Second-Class Mail Privileges authorized at Omaha, Nebraska. Subscription price-$3.00 per year; ~'.OO for two years. All articles for publication must be in the hands of the editor, P. o. Box l012t Omaha 1, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the drcu1ation manager: Paul Sing, P. O. Box 1012, Omaha 1, Nebraska Postmaster: Form 3579 to Caecilia, P. O. Box IOU, Omaha 1, Nebr. s »as Ab-undAIlssrJu'eiben von Partitur und Sthumen 1st (emii8 § 15 des Gesetzes Sub tuum praesidium yom 19.Juni1901 verboten. AuffiihrUDgsreeht vorbehaltcD Zeitdauer: itMin. FLOR PEETERS, Op. 64 II Mdt~,ra 0 assaI =60 1\ r. -== ~ Sopran . ..... tJ - - . S';.b tu - um prae - si - di-um COD - fu - gi • mus san· eta mf = Alt ,_P ::All . ., ..- ~ 4- c.I """ too" 0 .... Sub tu - um prae - si - di-um COD - ~- gi,;. mus saD eta fl. 'ItJ£ . .,.= Tenor fir' ~ ... r.J r:J r.J ... r-; __CL-. ~ Sub tu - um prae - si - di- um COD- - fu - gi- mus saD - eta mf -:-= : I Ba8 ~ta 1\ Sub tu - um prae - si -eii - um COD - fu - gi . MUS ~an - fJ Modera~ssai ~ ---r-....r, .-----:--- I ... ,., ..-I _. .. - .... .... .- ..,. , tJ - Reductio ~ r r I V- r -r r r I (z_ellfassungl~ nit r ~ I J J J J. -
Guide to Saints and Symbols in Stained Glass
Guide to Saints and Symbols in Stained Glass In churches and chapels, stained glass windows help create the sense of a sacred space. Stained glass windows of the saints can provide worshipers with inspirational illustrations of the venerated. The various saints may be depicted in stained glass either symbolically or in scenes from their lives. One of the challenges facing church designers, building committees and pastors doing church construction or remodeling is finding the right stained Saint Matthew Saint Mark glass images for your church or chapel. Panel #1001 Panel #1000 To help you, Stained Glass Inc. offers the largest selection of stained glass in the world. You will find Stained Glass Inc. windows to be of the finest quality, affordable and custom made to the size and shape of your window. If your church or organization is looking for a stained glass window of a saint, we can help. Not all the saints are listed here. If you are looking for a particular saint and you don’t find him or her listed here, just contact us, we can create a stained glass artwork for you. Saint Luke Saint John Panel #1005 Panel #1006 4400 Oneal, Greenville, TX • Phone: (903) 454-8376 [email protected] • www.StainedGlassInc.com To see more Saints in stained glass, click here: http://stainedglassinc.com/religious/saints-and-angels/saints.html The following is a list of the saints and their symbols in stained glass: Saint Symbol in Stained Glass and Art About the Saint St. Acathius may be illustrated in Bishop of Melitene in the third century. -
Flesh As Relic: Painting Early Christian Female Martyrs Within
FLESH AS RELIC: PAINTING EARLY CHRISTIAN FEMALE MARTYRS WITHIN BAROQUE SACRED SPACES by Stormy Lee DuBois A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana November 2019 ©COPYRIGHT by Stormy Lee DuBois 2019 All Rights Reserved ii ACKNOWLEDGEMENTS I would like to offer my sincerest gratitude to my committee, Dr. Todd Larkin, Dr. Regina Gee, and Dr. Melissa Ragain, for supporting me throughout my coursework at Montana State University and facilitating both graduate research and pedagogical inspiration during the study abroad program in Italy. I would also like to thank School of Art Director, Vaughan Judge for his continued support of art historical research and for the opportunities the program has afforded me. My thanks also go my husband, Josh Lever for his love and support. Thanks are also in order to Dani Huvaere for reading every draft and considering every possibility. iii TABLE OF CONTENTS 1. INTRODUCTION ....................................................................................................... 1 2. BAROQUE PAINTING CONVENTIONS: STYLISTIC INTERPRETATIONS OF TRIDENTINE REQUIREMENTS FOR RELIGIOUS ART ............................................................................................... 4 Baroque Classicism and Naturalism ............................................................................. 4 Burial of Saint Lucy.................................................................................................. -
Guide to Catholic Stained Glass Windows Stained Catholic to Guide Stained Glass Inc., Greenville, TX
Stained Glass Inc., Greenville, TX. www.StainedGlassInc.com [email protected] 903.454.8376 Guide to Catholic Stained Glass Windows Stained Catholic to Guide Stained glass can remind us that there is something— something beautiful — beyond the world where we live. It can help us refocus on the things of God and on our faith. While stained glass is used by almost all Christian denominations and most share sacred images, this brief guide focuses on the unique subject matter and attributes of Catholic stained glass windows. “Christ himself made extensive use of images in his preaching, fully in keeping with his willingness to become, in the Incarnation, the icon of the unseen God.” Pope John Paul II Catholic Stained Glass TX. Glass Inc., Greenville, Stained Over the years we have produced many works of art for Roman Catholic Churches, Basilicas, Cathedrals and Monasteries. In the Catholic Church, stained glass artwork is intended to illustrate, supplement and portray in tangible form the teachings of the [email protected] www.StainedGlassInc.com Catholic Church. As in all church stained glass, the principal subject matter in Catholic stained glass is the life of Jesus, the parables, the disciples and the Old Testament. While the subjects and stories of most stained glass art are similar throughout all Stained Glass Window 3545: The Transfiguration of Christ Christian denominations; some stained glass artwork for the Catholic Church is unique to the Catholic faith. These Catholic stained glass artworks often reflect the greater emphasis placed on the Blessed Mother, The Stations of the 903.454.8376 Cross, the sacraments and the saints. -
Christian Art, Architecture and Music
Christian Art, Architecture and Music LEARNING STRAND: HUMAN EXPERIENCE RELIGIOUS EDUCATION PROGRAMME FOR CATHOLIC SECONDARY SCHOOLS IN AOTEAROA NEW ZEALAND 12G TEACHER GUIDE THE LOGO The logo is an attempt to express Faith as an inward and outward journey. This faith journey takes us into our own hearts, into the heart of the world and into the heart of Christ who is God’s love revealed. In Christ, God transforms our lives. We can respond to his love for us by reaching out and loving one another. The circle represents our world. White, the colour of light, represents God. Red is for the suffering of Christ. Red also represents the Holy Spirit. Yellow represents the risen Christ. The direction of the lines is inwards except for the cross, which stretches outwards. Our lives are embedded in and dependent upon our environment (green and blue) and our cultures (patterns and textures). Mary, the Mother of Jesus Christ, is represented by the blue and white pattern. The blue also represents the Pacific… Annette Hanrahan RSCJ Cover photograph: Cathedral of the Blessed Sacrament, Christchurch / Diocese of Christchurch UNDERSTANDING FAITH YEAR 12 This book is the Teacher Guide to the following topic in the UNDERSTANDING FAITH series 12G CHRISTIAN ART, ARCHITECTURE AND MUSIC TEACHER GUIDE © Copyright 2007 by National Centre for Religious Studies No part of this document may be reproduced in any way, stored in a retrieval system, or transmitted by any means, without prior permission of the publishers. Imprimatur: † Colin D Campbell DD Bishop of Dunedin Conference Deputy for Religious Studies October 2007 Authorised by the New Zealand Catholic Bishops’ Conference Published by: National Centre for Religious Studies Catholic Centre P O Box 1937 Wellington New Zealand Printed by: Printlink 33-43 Jackson Street, Petone Private Bag, 39996 Wellington Mail Centre Lower Hutt 5045 Māori terms are italicised in the text. -
WALK ONE Campo Dei Fiori; Small Lanes; Chiesa Nuova; Piazza Navona
WALK ONE Campo dei Fiori; small lanes; Chiesa Nuova; Piazza Navona. CAMPO DEI FIORI Begin your first morning in the center of Rome at Campo dei Fiori, the best outdoor fruit and vegetable market. Then spend the rest of the day on a walking tour through some of the most fascinating and historic neighborhoods within the curve of the Tiber River. Campo dei Fiori is teeming with friendly people, tasty fruits, vibrant colors, animated conversations, varieties of vegetables, sweet smells, energetic vendors, local shoppers, and atmo- sphere galore. This setting is perfect, surrounded by very old buildings with cobbled pedestrian lanes leading off in all direc- tions into a great neighborhood we shall explore next. This friendly and lively piazza is one of the major focal points of the city, just three blocks south of Piazza Navona (coming up later in this walk) and an easy walk if your hotel is in the historic center. If you’re staying further away, take a taxi. Arriving any time in the morning is good, but earlier is better. Campo dei Fiori makes a great startfor our walk: it is the only main attraction opening by 6am and it is simply a wonderful morning scene. This magical Campo has multiple personali- ties, changing character throughout the day: Rome’s main veg- gie market in the morning, a ring of busy restaurants at lunch, peaceful in the afternoon, and a party scene at night. Campo dei Fiori’s produce stands are very popular with the nearby residents and chefs seeking fresh items on their daily shopping rounds. -
Chiesa Di San Luigi Dei Francesi in Campo Marzio
(092/37) Chiesa di San Luigi dei Francesi in Campo Marzio San Luigi dei Francesi is the 16th century titular and French national church located near Piazza Navona in rione VIII (Sant’Eustachio). The full dedication is to the Blessed Virgin Mary, St Dionysius (St Denis) and St Louis IX, King of France. History: The site was acquired by the French community in Rome from the monks of the Abbey of Farfam in 1478. The deal was facilitated by Cardinal Guillaume d'Estouteville. Pope Sixtus IV approved the project, sponsored by King Louis XI, and authorized the foundation of the Confraternita della Concezione della Beata Vergine Maria, San Dionigi et San Luigi Re di Francia, the ancestor of the present Les Pieux Etablissements. The area was full of remains of Roman buildings, including the Baths of Alexander Severus and the Baths of Nero. Pope Sixtus IV (1471-1484) confirmed the exchange uniting various small churches into a single parish in honor of “The Conception of the Blessed Virgin Mary, St. Dionigi (Denis) and St. Louis, King of France” (patron saints of the French nation), and also set up a Confraternity with the same name to manage the area. In the early 16th century, the Medici family took over. Cardinal Giulio de Medici, later Pope Clement VII, commissioned Jean de Chenevière to build a small round church for the French community here in 1518. Building was halted when Rome was sacked in 1527. In the mid-16th century, with the support from Caterina de’Medici who lived in the nearby Palazzo Madama, a new church was begun.