DOCSLIB.ORG

Dalí's Religious Models: the Iconography of Martyrdom and Its Contemplation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dalí's Religious Models: the Iconography of Martyrdom and Its Contemplation Dalí's Religious Models: the Iconography of Martyrdom and its Contemplation © Miguel Escribano 2012 A thesis submitted for the degree of PhD Department of Art History and Theory University of Essex February 2012 ii Summary This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body. iii Contents page Introduction …………………………………………………………………………………………………... 1 Prologue: A Portrait of the Young Man as an Artist ………………………………….. 5 Part I: St. Sebastian …………………………………………………………………………………. 10 Chapter 1. The Marble Body: Composition with Three Figures …………………. 11 1.1 Hello Sailor! …………………………………………………………………………………. 13 1.2 Sebastian Bound ………………………………………………………………………..… 22 1.3 Venus, Sebastian and the Sea …………………………………………………….… 29 1.4 The Neo-Cubist Academy ……………………………………………………………… 33 Chapter 2. The Wooden Body: Barcelona Mannequin …………………………….… 44 2.1 Picturing the Other …………………………………………………………………….… 45 2.2 The Rhetoric of the Halo …………………………………………………………….… 52 2.3 Passion Play ……………………………………………………………………………….… 60 2.4 Something Fishy …………………………………………………………………………… 67 Chapter 3. The Body of Flesh: The Forest of Apparatuses …………………………. 78 3.1 A “rigorous logic of fantasy” ………………………………………………………… 79 3.2 Painting well ………………………………………………………………………………… 85 3.3 Little Things ………………………………………………………………………………..… 94 3.4 The Triumph of Death …………………………………………………………….…… 101 3.5 Cinderella shall go to the Surrealist Ball …………………………………….… 105 Part II: St. Jerome …………………………………………………………………………………..… 114 Chapter 4. Self-analysis: Constructing a Surrealist Self …………………..………….. 116 4.1 The First Days of Spring ………………………………………………………………… 117 4.2 Lugubrious Game ……………………………………………………………………….… 120 Chapter 5. Diagnosis: Visualising the Surrealist Self …………………………….…..… 135 5.1 Desire: the Great Enigma ……………………………………………………………… 136 5.2 The Egyptian Enigma: “I want my mummy!” ………………………………… 154 5.3 The Landscape of Primary Loss ……………………………………..……………… 156 Chapter 6. Therapy: Contemplating the Self ……………………………………………….… 182 6.1 Book Transforming Itself into a Nude Woman (1940) ………………..…. 183 6.2 A Scholar and a Lion-Tamer ………………………………………………………….. 188 iv Part III: Christ ………………………………………………………………………………………………..… 199 Chapter 7. Birth: The Madonna of Portlligat ………………………………………………... 202 7.1 Dalí’s Return to Eden ……………………………………………………………………..… 203 7.2 Raphael's Madonnas ……………………………………………………………………….. 206 7.3 The End of the Idyll ………………………………………………………………………….. 209 7.4 Surrealism's Crisis of Faith: Carrouges, Breton and Dalí ………………..... 212 Chapter 8. Death: Christ of St. John of the Cross …………………………………………... 216 8.1 Ecstatic and Quiet Mysticisms ………………………………………………………….. 218 8.2 Mystic Perspective ……………………………………………………………………………. 231 8.3 A Hidden Source: Andrea del Castagno’s Holy Trinity …………………….… 239 Chapter 9. Reparation: Assumpta Corpuscularia Lapislazulina …………………….… 242 9.1 El Greco's “Dionysian dynamism” …………………………………………………….. 244 9.2 Aldous Huxley's “rationally defensible mysticism” ………………………….… 250 9.3 Mechanical Mysticism: The Vierge Ouvrante …………………………………… 252 Epilogue: Pietà …………………………………………………………………………………………..……. 254 Conclusion ……………………………………………………………………………………………………….… 259 Appendix 1: 'Ode to Salvador Dalí' …………………………………………………………….…. 262 Appendix 2: 'Sant Sebastià' ………………………………………………………………………….. 266 Bibliography ………………………………………………………………………………………………………. 271 List of Illustrations ……………………………………………………………………………………………... 279 v Introduction I have investigated the origin of much of Salvador Dalí's Surrealist visual repertoire in traditional religious iconography, as a useful supplement to psychoanalytical readings of his work. In particular, I have found that Dalí adapted religious art that depicts and facilitates the contemplation of mortality. The interest of this approach is not merely anecdotal or archival, but for the patterns it reveals in Dalí's appreciation of meanings and communicative methods within the religious tradition. It not only reveals unexpected sources of Dalí's images – enriching the experience of solving his visual conundrums – but also demonstrates the seriousness of his art-historical scholarship, and his insight into the underlying psychological content and motivation of much religious art. Few artists' lives have been documented in as great detail as Salvador Dalí's, and to a great extent the parameters were set by Dalí himself in an insistent and conscious effort of autobiographical mythopoesis – in his voluminous writings as well as his prolific art work. His methodical reinterpretation of all phenomena in relation to a mythical self attended a vital need for reassurance of his own existence, betraying the fundamental self-doubt underlying his apparent megalomania. Dalí's thoughts and art can be distilled and labelled as an interrogation of the truth of himself: probing origins and identity within; the real and the represented without. The basis for my thesis: the not-so-blank canvas Dalí deliberately and methodically created images that appeared to flow spontaneously from his subconscious onto his Surrealist canvases, but the concept “self” that he explored was always personalised, inhabited and shaped by his own memory and experience. He submitted these to a process of interpretation that he called his “paranoiac-critical method”, integrating them within a coherent, personal network of associations.1 Dalí's motivation for assimilating particular signifying structures of religious art at particular moments of his life was related to real events, and I integrate biographical study into my analysis of his works. Dalí was only ready to accept Surrealism's stated aim of revealing the machinations of the subconscious once he had reconciled this with his vital need for a sense of autonomy and control. He consciously sifted his memory for images that he had internalised and processed, before incorporating them into his mythography, even if their meanings had undergone a process of reinterpretation and appropriation since their original production. André Breton welcomed this contribution to Surrealism as an effective imitation of unmediated, instinctive thought, but Dalí's tendency toward deliberate manipulation of the subconscious in the service of his own mythopoesis remained a source of tension. In contrast to most of the Surrealists, Dalí arrived at their door with a thorough academic art education, and with firm conviction regarding the purpose and aims of painting, which helps explain his reticence to abandon control of his image-making to automatic processes. With the support of Freudian theory, Dalí considered his art historical knowledge, and the vast store of images that he had absorbed since childhood, to be a fundamental part of the neural network of associations that comprised him as an individual. Certain constants in Dalí’s career – Millet’s Angelus, the Venus de Milo, St. Sebastian, Raphael, Vermeer or Velázquez – gain in significance by the fact of his familiarity with them from an early age. For example, images in the churches of Figueres or Cadaqués – where he attended mass with his mother – were established at the core of the mnemonic archives from which he compiled his paintings. In Freud, Dalí also found the licence to take seriously the humorous associations that he had already made as a child, or later with friends, and we shall come across several examples. In May 1922 – shortly before Dalí arrived at the Residencia de Estudiantes in Madrid to begin his studies at the Academia de San Fernando, and long before his full engagement with Surrealism – Ortega y Gasset's
Load more

Recommended publications
  • Joseph: Carpenter of Steel
    Digging Deeper Links from the Discussion Guide for Joseph: Carpenter of Steel Session 1 CARPENTRY TOOLS HISTORY This article describes how carpentry tools have developed from ancient times to today. ARRANGED MARRIAGES This article discusses how Betrothal And Marriage worked in Bible times. This article cites Biblical And Jewish Sources to describe the ancient procedures for betrothal. This article provides information about Arranged Marriages, including where they are taking place around the world today. MARY’S SHAME? This article by Lynn Cohick explores whether Mary faced the social stigma of being an unmarried mother, or did she only face the possibility of losing her betrothed husband Joseph? AUGUSTUS’ CENSUSES What did Caesar Augustus consider his greatest achievements? This site presents Augustus’ list of accomplishments. If you want to jump to his three censuses, look at number eight on this page: Accomplishment Number Eight Session 2 BETHLEHEM This website discusses how Bethlehem appears today, and the ways i8t commemorates the birth of Jesus: Bethlehem Today This article describes Bethlehem’s Location and Setting and discusses its history from ancient times to the birth of Jesus Christ. This article describes Bethlehem’s History from the Old Testament, through Jesus’ birth to today. FINDING A PLACE FOR MARY TO GIVE BIRTH Read an excerpt about Jesus’ birth in Bethlehem from Paul L. Maier’s book, The First Christmas. THE INN This article discusses the different ways the Greek word for ―inn‖ can be translated. JUSTIN MARTYR – THE CAVE Justin Martyr was born only 40 miles from Bethlehem. He wrote that Jesus was born in a cave near Bethlehem.
    [Show full text]
  • THE CONTENTS of a CATALONIAN VILLA the Collection of Anton Casamor Wednesday 11 April 2018
    THE CONTENTS OF A CATALONIAN VILLA The Collection of Anton Casamor Wednesday 11 April 2018 THE CONTENTS OF A CATALONIAN VILLA The Collection of Anton Casamor Wednesday 11 April 2018 at 2pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Sunday 8 April +44 (0) 20 7447 7447 Head of Sale LOTS IN THIS AUCTION 11am to 3pm +44 (0) 20 7447 7401 fax Charlie Thomas Monday 9 April To bid via the internet +44 (0) 20 7468 8358 PLEASE NOTE THAT THERE 9am to 4.30pm please visit bonhams.com [email protected] IS NO REFERENCE IN THIS Tuesday 10 April CATALOGUE TO THE PHYSICAL 9am to 4.30pm TELEPHONE BIDDING Administrator CONDITION OF ANY LOT. Wednesday 11 April Telephone bidding on this sale Mackenzie Constantinou INTENDING BIDDERS MUST 9am to 11am will only be accepted on lots +44 (0) 20 7468 5895 SATISFY THEMSELVES AS TO with a lower estimate of £1,000 mackenzie.constantinou@bonhams. THE CONDITION OF ANY LOT SALE NUMBER or above. com AS SPECIFIED IN CLAUSE 14 24740 OF THE NOTICE TO BIDDERS Please note that bids should Representative, Barcelona CONTAINED AT THE END OF CATALOGUE be submitted no later than 4pm Teresa Ybarra THIS CATALOGUE. £20.00 on the day prior to the sale. +34 680 347 606 New bidders must also provide [email protected] As a courtesy to intending proof of identity when submitting bidders, Bonhams will provide bids. Failure to do this may result Press a written Indication of the in your bid not being processed.
    [Show full text]
  • Catalans Del Passat I Del Futur
    8 ❙ OPINIÓ presència · Del 25 d’abril a l’1 de maig del 2008 HOMO SAPIENS NOTA AL LECTOR ▼ ▼ Catalans del passat i del futur entre el munt de novetats ens han explicat. «La història oficial volia i vol que han aparegut al vol- un país ben endreçat, sense gaires passions, sen- tant de Sant Jordi, en se transgressions. Però són els creatius i els voldríem rebels els que sovint ens justifi- D’destacar dues que tenen molt més Miquel Riera quen», escriu la periodista, que Periodista [[email protected]] punts en comú del que en princi- http://hsapiens.blogspot.com conclou el seu llibre recordant pi podria semblar: El fil secret de una conversa amb el farmacèutic la història, (La Campana), de Patrícia Gabancho, i i historiador figuerenc Alexandre Deulofeu durant Nosaltres, els catalans (Pòrtic), de Víctor Alexan- la qual l’inspirador de la teoria de la matemàtica de dre. la història li va donar la data del 2029 com la de No cal presentar gaire els autors, de sobres co- l’any en què el país recobrarà la independència. neguts pels seus articles i els seus llibres, sempre Justament Gabancho és la primera protagonista amb un compromís clar per la llengua i la cultura del llibre d’Alexandre, que ha entrevistat vint cata- catalanes; pel país, en definitiva. Patrícia Gaban- lans nascuts fora del país, però que, amb el seu cho (Buenos Aires, 1952) és periodista i escriptora. El seu úl- tim llibre, El preu de ser catalans (Meteo- ra), en el qual refle- Nou premi per al xionava sobre l’estat actual de la cultura dossier «Qui catalana, va tenir un destacable èxit edito- mana, a casa?» rial.
    [Show full text]
  • God and the Atom: Salvador Dalí's Mystical Manifesto and The
    ©Michael Taylor 2007 & 2016 God and the Atom: Salvador Dalí’s Mystical Manifesto and the Contested Origins of Nuclear Painting by Michael R. Taylor In December 1951, Salvador Dalí announced his newfound interest in the pictorial possibilities of nuclear physics and molecular chemistry at a press conference in London, where he declared himself to be the “First Painter of the Atomic Age” and dismissed all the works he had produced up until this point as “merely evolution.”1 The devastating destruction of the Japanese city of Hiroshima by a nuclear fission bomb with a yield of 15 kilotons – equivalent to the force of 15,000 tons of TNT - had forced Dalí to re-think both the subject matter and spatial complexities of his subsequent paintings. On August 6, 1945, at 8.15 am, a flash a thousand times brighter than the sun illuminated the sky above Hiroshima. It was immediately followed by a wave of incandescent heat and, a few minutes later, a ferocious hurricane that swept away everything in its path. The terrifying heat turned the city into a gigantic inferno, which in turn generated a violent wind followed by black rain. By mid-afternoon the entire city was destroyed. At least 80,000 people were killed in the explosion, and almost as many suffered serious, life-threatening injuries. In the weeks that followed many more were to die in terrible agony from the burns they had sustained after the initial blast, or from the effects of radiation, which caused internal bleeding, cancer, and leukemia.2 How could an artist like Salvador Dalí, whose work was based on an intuitive, paranoiac-critical understanding of the social and political events of his times, not be profoundly affected by the tragic events at Hiroshima, which had revealed the seemingly unlimited destructive capacity of nuclear weapons, as well as the near impossibility of protecting oneself against their pernicious effects, including the long-term consequences of ionizing radiation.
    [Show full text]
  • 1 Dalí Museum, Saint Petersburg, Florida
    Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalí Museum Collection, Paintings ” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. • Ades, dawn, Dalí (World of Art), London, Thames and Hudson, 1995. • Dalí’s Optical Illusions, New Heaven and London, Wadsworth Atheneum Museum of Art in association with Yale University Press, 2000. • Dalí, Philadelphia Museum of Art, Rizzoli, 2005. • Anderson, Robert, Salvador Dalí, (Artists in Their Time), New York, Franklin Watts, Inc. Scholastic, (Ages 9-12). • Cook, Theodore Andrea, The Curves of Life, New York, Dover Publications, 1979. • D’Agnese, Joseph, Blockhead, the Life of Fibonacci, New York, henry Holt and Company, 2010. • Dalí, Salvador, The Secret life of Salvador Dalí, New York, Dover publications, 1993. 1 • Diary of a Genius, New York, Creation Publishing Group, 1998. • Fifty Secrets of Magic Craftsmanship, New York, Dover Publications, 1992. • Dalí, Salvador , and Phillipe Halsman, Dalí’s Moustache, New York, Flammarion, 1994. • Elsohn Ross, Michael, Salvador Dalí and the Surrealists: Their Lives and Ideas, 21 Activities, Chicago review Press, 2003 (Ages 9-12) • Ghyka, Matila, The Geometry of Art and Life, New York, Dover Publications, 1977. • Gibson, Ian, The Shameful Life of Salvador Dalí, New York, W.W.
    [Show full text]
  • Salvador Dalí and Science, Beyond Mere Curiosity
    Salvador Dalí and science, beyond mere curiosity Carme Ruiz Centre for Dalinian Studies Fundació Gala-Salvador Dalí, Figueres Pasaje a la Ciencia, no.13 (2010) What do Stephen Hawking, Ramon Llull, Albert Einstein, Sigmund Freud, "Cosmic Glue", Werner Heisenberg, Watson and Crick, Dennis Gabor and Erwin Schrödinger have in common? The answer is simple: Salvador Dalí, a genial artist, who evolved amidst a multitude of facets, a universal Catalan who remained firmly attached to his home region, the Empordà. Salvador Dalí’s relationship with science began during his adolescence, for Dalí began to read scientific articles at a very early age. The artist uses its vocabulary in situations which we might in principle classify as non-scientific. That passion, which lasted throughout his life, was a fruit of the historical times that fell to him to experience — among the most fertile in the history of science, with spectacular technological advances. The painter’s library clearly reflected that passion: it contains a hundred or so books (with notes and comments in the margins) on various scientific aspects: physics, quantum mechanics, the origins of life, evolution and mathematics, as well as the many science journals he subscribed to in order to keep up to date with all the science news. Thanks to this, we can confidently assert that by following the work of Salvador Dalí we traverse an important period in 20th-century science, at least in relation to the scientific advances that particularly affected him. Among the painter’s conceptual preferences his major interests lay in the world of mathematics and optics.
    [Show full text]
  • A Critical Bibliography of the Theatre of Federico García Lorca, 1940-1970
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1973 A critical bibliography of the theatre of Federico García Lorca, 1940-1970. Dennis A. Klein University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Klein, Dennis A., "A critical bibliography of the theatre of Federico García Lorca, 1940-1970." (1973). Doctoral Dissertations 1896 - February 2014. 2686. https://scholarworks.umass.edu/dissertations_1/2686 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA: 19^0 THROUGH 1970 A Dissertation Presented By Dennis A. Klein Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1973 Hispanic Languages and Literatures (C) Dennis A. Klein f^73 All Rights Reserved A CRITICAL BIBLIOGRAPHY OF THE THEATRE OF FEDERICO GARCIA LORCA; 19^ THROUGH 1970 A Dissertation By Dennis A. Klein Approved as to style and content by: Professor Sumner •rofessor Harold L. Boudreau June 1973 Iv For My Parents And for Jordan V acknowledgments Since it is impossible to acknowledge all of the faculty and staff members, relatives and friends who have seen me through my years of graduate studies and through this dissertation, I shall limit myself to five faculty members of the University of Massachu- setts: Professor Blanche DePuy and Professor David Lenson for their time and suggestions; Professor Sumner M.
    [Show full text]
  • Universidade Federal De Goiás Centro De Ensino E Pesquisa Aplicada À Educação
    UNIVERSIDADE FEDERAL DE GOIÁS CENTRO DE ENSINO E PESQUISA APLICADA À EDUCAÇÃO SANTIAGO LEMOS JOGO VIRTUAL DALÍ EX: FORMAÇÃO ESTÉTICA E ENSINO DE ARTES VISUAIS GOIÂNIA 2017 SANTIAGO LEMOS JOGO VIRTUAL DALÍ EX: FORMAÇÃO ESTÉTICA E ENSINO DE ARTES VISUAIS Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em Ensino na Educação Básica do Centro de Ensino e Pesquisa Aplicada à Educação da Universidade Federal de Goiás, para obtenção do título de Mestre em Ensino na Educação Básica. Área de Concentração: Ensino na Educação Básica. Linha de Pesquisa: Concepções teórico- metodológicas e práticas docentes. Orientadora: Profa. Dra. Maria Alice de Sousa Carvalho Rocha. GOIÂNIA 2017 ÿÿ ÿÿÿÿÿ ÿ !"ÿ #$%ÿÿ&ÿ' %( ÿÿ)" %ÿÿ0 "ÿÿ1&2 7%"ÿ) $ ÿÿÿÿÿÿ89&9ÿ@ABC1'7ÿ4'7DÿEFGÿH% " IÿGÿ9BP'QR9ÿE)CSCA3'ÿE ET)AT9ÿ4Eÿ'BCE)ÿ@A)1'A)ÿUÿ) $ÿ7%"2ÿVÿWXY62 ÿÿÿÿÿÿÿ6Xÿ2Gÿ2 ÿÿÿÿÿÿ9 Gÿ#2ÿPÿ'ÿÿÿ)"ÿ3 ÿBÿ2 ÿÿÿÿÿÿ4"" ÿ`P" aÿVÿ1 "ÿÿÿ&("ÿ3 ÿ#"b"ÿ'ÿcÿEÿ`3E#'Eaÿ#$%ÿÿ#d"V& %ÿE " ÿ ÿEÿ0("ÿ`#"" aÿ&e ÿWXY62 ÿÿÿÿÿ0$2 ÿÿ ÿÿÿÿÿÿY2ÿE " 2ÿW2ÿEÿ0("2ÿ52ÿ' "ÿ@""2ÿf2ÿ8$ÿ4$ 2ÿA2 ÿ)"ÿ3 ÿBÿÿPÿ'ÿÿ 2ÿAA2ÿCg 2 341ÿ56 RESUMO Ao refletir sobre a formação do estudante na sociedade da era digital, observa-se a necessidade de aproveitar os recursos por ela disponibilizados para contribuir com os processos de ensino/aprendizagem dentro e fora de sala de aula. A maioria desses jovens tem cada vez mais contato com os dispositivos de tecnologia móvel como celulares e tablets. Eles utilizam essas ferramentas cotidianamente para acessar as redes sociais e também para participarem de jogos. Esses últimos, segundo pesquisas, são os mais procurados e existem numa grande variedade, mas poucos deles exploram temáticas de interesse educacional.
    [Show full text]
  • IMA VOL4 Prelims.Indd
    VIVIAN B. MANN Jewish Theological Seminary OBSERVATIONS ON THE BIBLICAL MINIATURES IN SPANISH HAGGADOT Abstract the seder itself. Illuminated borders and word pan- This essay discusses the last two centuries of medieval Spanish art, els completed the program of illumination. and demonstrates that cooperative relations existed between Christians In all, there remain some seven haggadot from and Jews who worked either independently or together to create art Spain produced from ca. 1300 to ca. 1360 in the both for the Church and the Jewish community. Artists of different Crown of Aragon and Castile in which biblical faiths worked together in ateliers such as that headed by Ferrer Bassa miniatures precede the text of the haggadah. In an (d. 1348), producing both retablos (altarpieces) as well as Latin additional example, the Barcelona Haggadah (British and Hebrew manuscripts. Library, Add. 14761), the biblical scenes serve as The work of such mixed ateliers is of great signicance when text illustrations.3 The number and contents of these considering the genesis ca. 1300 of illuminated with haggadot illustrations are not uniform. The Hispano-Moresque prefatory biblical cycles and genre scenes that were produced in Spain until ca. 1360. These service books for Passover have Haggadah (British Library, Or. 2737), the Rylands always been viewed as a unique phenomenon within the Jewish art (Rylands Library, JRL Heb. 6), and its related of Spain, their origins inexplicable. When the biblical scenes, brother manuscript (British Library, Or. 1404) however, are viewed in the context of contemporaneous Spanish art adhere most closely to the text of the haggadah for the Church, their sources become more transparent.
    [Show full text]
  • Exhibition Checklist
    EXHIBITION CHECKLIST Dalí: Painting and Film June 29 – September 15, 2008 Salvador Dalí, Spanish, 1904-1989 Madrid Night Scene, 1922 Gouache and watercolor on paper 8 1/4 x 6" (21 x 15.2 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Brothel, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Summer Night, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 The Drunkard, 1922 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Madrid Suburb, circa 1922-23 Gouache on paper 8 3/16 x 5 7/8" (20.8 x 15 cm) Fundació Gala-Salvador Dalí, Figueres Salvador Dalí, Spanish, 1904-1989 Portrait of Luis Buñuel, 1924 Oil on canvas 26 15/16 x 23 1/16" (68.5 x 58.5 cm) Museo Nacional Centro de Arte Reina Sofía, Madrid Salvador Dalí, Spanish, 1904-1989 Portrait of my Father, 1925 Oil on canvas 41 1/8 x 41 1/8" (104.5 x 104.5 cm) Museu Nacional d'Art de Catalunya, Barcelona Salvador Dalí, Spanish, 1904-1989 The Marriage of Buster Keaton, 1925 Collage and ink on paper 8 3/8 x 6 5/8" (21.2 x 16.8 cm) Fundación Federico García Lorca, Madrid Salvador Dalí, Spanish, 1904-1989 Penya segats (Woman on the Rocks), 1926 Oil on panel 10 5/8 x 16 1/8" (27 x 41 cm) Private collection Print Date: 06/20/2008 01:22 PM Page 1 of 15 Salvador Dalí, Spanish, 1904-1989 The Hand, 1927 India ink on paper 7 1/2 x 8 1/4" (19 x 21 cm) Private collection Salvador Dalí, Spanish, 1904-1989 Apparatus and Hand, 1927 Oil on panel 24 1/2 x 18 3/4" (62.2 x 47.6 cm) Salvador Dalí Museum, St.
    [Show full text]
  • Recull 04.02.20.Pdf
    RECULL DE PREMSA Dimarts, 04 de febrer de 2020 12 DIMARTS, 4 DE FEBRER DEL 2020 EMPORDÀ ACTUALITAT ROSES Comencen les obres de la Voluntaris recullen una nova central de biomassa tona de brossa a la platja EMPORDÀ La instal·lació donarà calefacció i aigua calenta a edificis públics SÒNIA DUÑACH ROSES GERARD BLANCHÉ L’aparcament de la zona espor- tiva de Roses s’ha vist reduït a cau- sa de l’inici de les obres de la xarxa de calor que donarà servei de ca- lefacció i aigua calenta a la Piscina Municipal, al Pavelló Poliesportiu i a l’Estadi del Mas Oliva. Aquest projecte té un doble objectiu am- biental. D’una banda, l’estalvi energètic a les instal·lacions ser- vides, i de l’altre, la reducció de les emissions de gasos d’efecte hiver- nacle a l’atmosfera. La posada en marxa de la central de calor per- metrà un estalvi de tones de Voluntaris netejant una de les platges de Roses. CO anuals, cosa que equival a les emissions de vehicles. També S.D. ROSES Giner destaca que «s’han reco- estalviarà . kwh anuals de Les obres s’han iniciat amb el tancament d’una part de l’aparcament. Cada dia de la setmana passa- llit majoritàriament objectes pe- gas. La matèria primera que ali- da, de quatre a sis de la tarda, ro- tits, sobretot plàstics. Cal tenir en mentarà la maquinària serà bio- Pavelló Poliesportiu. Mindan des- de formigó i revestit amb una xapa sincs i rosinques s’han reunit vo- compte que els residus més grans massa forestal, provinent de bos- taca que aquesta instal·lació «s’ha ondulada grisa a l’exterior, per se- luntàriament per netejar una plat- els van recollir des de l’empresa cos gestionats de manera sosteni- dissenyat per ser ampliable a al- guir la línia de la resta d’equipa- ja del municipi.
    [Show full text]
  • Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr.
    [Show full text]