Vincentiana Vol. 46, No. 3 [Full Issue]
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Carte Libri Memorie. Conservare E Studiare Gli Archivi Di Persona
Carte libri memorie. Conservare e studiare gli archivi di persona Materiali dalla giornata di studio organizzata da Fondazione Benetton Studi Ricerche, Treviso, 26 ottobre 2007 Il fondo Angelo Marchesan STEFANO CHIOATTO (Seminario vescovile, Treviso) L’archivio del Seminario vescovile di Treviso viene a formarsi con l’inizio dell’isti- tuzione, all’immediato ridosso del Concilio di Trento. Il primo registro che si possiede risale al 1567. Gli otto trasferimenti di sede succedutisi da quel tempo fino agli anni 1841-1842, allorquando definitivamente il Seminario venne a stabilirsi nei locali dell’ex convento di San Nicolò, acquistato dalla diocesi dal demanio, insieme all’occupazione delle truppe francesi negli anni a cavallo tra Sette e Ottocento, alle vicende belliche delle due guerre mondiali e i relativi bombardamenti, ne hanno ovviamente danneggiato la con- sistenza. E tuttavia anche nell’attuale dimora l’archivio non deve aver trovato per lungo tempo una collocazione precisa e stabile. Prima dei lavori di ristrutturazione della zona adibita a biblioteca, avvenuti tra il 1999 e il 2003, occupava tre locali, in due diverse ali del Seminario. In uno di tali locali era stata trasferita, su armadi appositamente predispo- sti alla fine degli anni ottanta, una parte considerevole di esso. Finalmente dall’autunno del 2003 riposa, per così dire, in un unico locale, utilizzando un piano mezzano, tra il primo e il secondo, del reparto San Giuseppe, costruito all’inizio degli anni cinquanta. Tale problematica situazione logistica è la probabile conseguenza della non chiara attri- buzione di competenze all’interno dell’istituzione su chi dovesse ricoprire il compito di archivista. -
Breda Di Piave Interno 2.Pdf
COMUNE DI BREDA DI PIAVE PROVINCIA DI TREVISO Si ringraziano per la collaborazione: il gruppo di ricerca:Bruscagnin Francesca Cattarin Remo Fedrigo Sandra Panizzo Luigi Pignatiello Roberto e tutte le persone che a vario titolo hanno fornito: fonti, suggerimenti e testimonianze. Si ringrazia inoltre il F.A.S.T. - Foto Archivio Storico Trevigiano che ha concesso alcune delle foto pubblicate. Con il F.A.S.T. - Foto Archivio Storico Trevigiano, l’Amministrazione Provinciale di Treviso ha avviato un’operazione culturale importante e destinata ad irradiarsi ben oltre i propri confini amministrativi. Salvaguardare, le opere dei fotografi diventa un imperativo; con queste si manterrà viva anche la memoria storica della nostra terra veneta. Per le autorizzazioni alla pubblicazione di documenti depositati nell’Archivio di Stato di Treviso, si fa riferi- mento alla concessione della Direzione dello stesso n. 4/2002, prot. n. 880 del 13.3.2002. © Copyright 2002 - Comune di Breda di Piave (Treviso) Stampa: S.I.T. Società Industrie Tipolitografiche s.r.l. Dosson di Casier (TV) Giuliano Simionato BREDA DI PIAVE Vita e storia di un Comune Biblioteca Comunale Breda di Piave 2002 PRESENTAZIONE Se dovessi dire qual è stata la motivazione profonda che mi ha guidato in questi anni di impegno amministrativo, non esiterei a rispondere che è stato l’a- more per la mia terra e la sua gente, senza limiti di spazio e di tempo. Quando decidemmo di offrire ai cittadini e agli studiosi un’opera sulla sto- ria di Breda ci si ponevano due possibili percorsi: quello di una ricostruzione sommaria degli avvenimenti, evidentemente di rapida stesura ma certamente anonima e superficiale, oppure quello di uno studio scientificamente fondato su fonti note e sconosciute. -
Vincent Van Gogh, Who Grew up Walking the Dutch Countryside
"Sorrowful yet always rejoicing," Vincent van Gogh, who grew up walking the Dutch countryside, traveled through life seeking the eternal "Light that rises in the darkness"- like these swans readying for flight south of Amsterdam. From the pain and beauty of his journey, he created masterworks of passion, including penetrating self-portraits, such as this one at age 34. Van Gogh likened painting to performing music. "Whether I really sang a lullaby in colors," he wrote, "I leave to the critics." National Geographic, October, 1997 By JOEL L. SWERDLOW, ASSISTANT EDITOR Photographs by LYNN JOHNSON THE LETTERS FROM VINCENT VAN GOGH to his brother Theo are yellowed. Some are torn at the corners or have holes from aging. Acid from ink eats through the cheap paper. I have come to this bombproof vault in the cellar of the Van Gogh Museum in Amsterdam to begin my search for Vincent. Who was this man who said he "sang a lullaby in colors:' and why does he have such a hold on us? His paintings sell for the most money; his exhibitions attract the highest number of visitors; reproductions of his work-on socks, sheets, party napkins, coffee cups-permeate homes and offices; the song "Vincent" has sold more than ten million copies since 1971; movies mythologize his life. No other artist, at any time in any culture, has been more popular. THE 650 LETTERS from Vincent to Theo fill three volumes. Their first surprise is immediate: I knew that Theo financed Vincent's painting and had assumed Theo was the big brother. -
Guión Bibliográfico-Hagiográfico Capu¿Hino I(^68-Igy8
Guión bibliográfico-hagiográfico capu¿hino i(^68-igy8 Hace ahora diez años aparecía en las páginas de nuestra revista un estudio acerca del tema que encabeza estas líneas desde el año 1957 hasta 1967, entrambos inclusive1. Hoy se continúa aquella tarea con la intención de ofrecer un instrumento de trabajo a quienes deseen investigar y penetrar más a fondo la personalidad y espiritualidad de los representantes más cualificados de la santidad de la Iglesia en el marco particular de una Orden religiosa. Objeto del presente ensayo, como se desprende de su título, es la temática relativa al santoral capuchino reflejada en la bibliografía pu blicada durante los dos últimos lustros. Se prescinde de la valoración científica de las publicaciones, de su naturaleza, dimensiones y finalidad. Se reseña bibliográficamente todo cuanto se ha publicado respecto al santoral de la Orden, es decir, relacionado con los protagonistas de la santidad canonizada o canonizable en cualquiera de sus fases o estadios en orden al reconocimiento canónico de las virtudes y del culto: desde los primeros pasos dados en las diócesis y provincias respectivas para presentarlos como modelos de conducta ejemplar hasta que la Iglesia los propone a la veneración de los fieles. Asimismo se describen los estudios monográficos acerca de unos cincuenta siervos de Dios, vene rables, beatos y santos que enriquecen y ennoblecen el santoral capu chino en el más amplio sentido de la palabra. El repertorio tiene un carácter meramente informativo, ni valora- tivo ni selectivo, sino exhaustivo, en cuanto lo consiente la índole de semejantes trabajos. Y puesto que su finalidad prinicipal es la de ofre cer una guía bibliográfica a los futuros hagiógrafos, se ha procurado in 1. -
Van Gogh: Heartfelt Lines
Jane Van Nimmen exhibition review of Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Citation: Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines,” Nineteenth- Century Art Worldwide 8, no. 1 (Spring 2009), http://www.19thc-artworldwide.org/ spring09/76-van-gogh-heartfelt-lines. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2009 Nineteenth-Century Art Worldwide Nimmen: Van Gogh: Heartfelt Lines Nineteenth-Century Art Worldwide 8, no. 1 (Spring 2009) Van Gogh: Heartfelt Lines Albertina, Vienna, 5 September 2008 – 8 January 2009 Catalogue: Van Gogh: Heartfelt Lines Edited by Klaus Albrecht Schröder and Heinz Widauer, Sjraar van Heugten and Marije Vellekoop; with an introduction by Klaus Albrecht Schröder; with essays by Martin Bailey, Sjraar van Heugten, Fred Leeman, Teio Meedendorp, Marije Vellekoop, and Heinz Widauer. Catalogue entries by Stefanie Chaloupek, Fred Leeman, Heinz Widauer, and Denise Willemstein. Cologne: DuMont, 2008. 455 pages; 338 color illustrations, 32 b-w; bibliography Cost: €24,90 ($36, in museum); €49,90 ($73, in bookstores) ISBN: 978-3-8321-9158-0 (museum edition); 978-3-8321-9133-7 (trade edition) Van Gogh: Gezeichnete Bilder ISBN: 978-3-8321-9157-3 (museum edition); 978-3-8321-9157-2 (trade edition) “To bring the art of drawing out of quarantine” became a mission statement of the new Albertina Director Klaus Albrecht Schröder long before he re-opened the meticulously restored museum. Assuming his post at the beginning of the millennium, Schröder accelerated renovations for the palace of Albert, Duke of Saxe-Teschen (1738–1822); the building behind the opera had housed his remarkable collection for two centuries and had closed for urgent repairs in the 1990s. -
Evangelii Gaudium”
July-September 2014 GENERAL CURIA CONGREGATION OF THE MISSION Year - N. 3 INCENTIANA th 58 on “Evangelii Gaudium” Vincentian Bishops Reflect Vincentian V VINCENTIANA — 58th Year - N. 3 - July-September 2014 Table of Contents VINCENTIANA Journal Published quarterly Introduction Congregation of the Mission 225 Editor’s Nore General Curia - Rome - Italy In our next 227 About our Authors 58th Year - N. 3 July-September 2014 issue... From the General Curia Editor 229 Meditation Moment. Reflection on the Vow of Obedience by the General Curia John T. Maher, C.M. 236 Tempo Forte Summary (June 2014) Editorial Board 243 New Appointments at the General Curia Jean Landousies, C.M. Javier Álvarez Munguia, C.M. Jorge Luis Rodríguez, C.M. From the Superior General Giuseppe Turati, C.M. 245 Letter to the Vincentian Family for the feast of St. Vicent Publication 249 Letter to the Vincentian Family on the Plight of Christians in Iraq General Curia of the Congregation of the Mission 251 Sunday Mass Homily for JMV Moderators (Paris, 20 July 2014) Via dei Capasso, 30 00164 Rome (Italy) Tel. +39 06 66 13 061 Spotlight Interview The Fax +39 06 66 63 831 255 An Interview with Fr. Manuel Ginete, C.M. Member of Province of the Philippines [email protected] John T. Maher, C.M., with Manuel Ginete, C.M. Authorization Ratio Tribunal of Rome Theme: Vincentian Bishops Reflect on “Evangelii Gaudium” 5 December 1974 - N. 15706 Formationis 263 The Social Dimension of Evangelization Legal Representative Bishop Vicente Bokalic Iglic, C.M. (Argentina) Giuseppe Carulli, C.M. 272 The Social Dimension of Evangelization Bishop George Bou Jaoudé, C.M. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
Teen Study Guide and Extension Activities
“Well, then, what can I say: does what goes on inside, show on the outside?” -Vincent to Theo, June 1880 Vincent van Gogh is among the world’s most famous artists, known for his vibrating colors, thick, encrusted paint, exhilarating brushstrokes and very brief career. In a mere ten years he managed to create an astonishing 900 paintings and 1000 drawings! The art he suffered to create tried to answer the introspective question he put forth in a letter from 1880, “does what goes on inside, show on the outside?” Born in The Netherlands on March 30, 1853, he never knew fame for his art while he was alive. Neither did he know prosperity or much peace during his frenetic life. Vincent was known to be emotionally intense, highly intelligent and socially awkward from the time he was a young boy, and though he never married, he had a deep and driving desire to connect with others. Unfortunately, he was unable to maintain most of his relationships due to his argumentative, obsessive nature and bouts of depression. But it was a divided temperament Vincent possessed - disagreeable, melancholy and zealous on one hand; sensitive, observant and gifted on the other. His beloved brother Theo thought that he had “two different beings in him” and that Vincent often made his life “difficult not only for others, but also for himself.” This disconnect was obviously painful to Vincent, as he once compared himself to a hearth - as someone who “has a great fire in his soul and nobody ever comes to warm themselves at it, and passers-by see nothing but a little smoke at the top of the chimney and then go on their way.” It was this friction of selves that created a lonely lifetime of seeking - for home, family, truth, balance and acceptance, which he ultimately never found. -
Van Gogh Educator Guide
Van Gogh and His Inspirations Presented by The Blanchard Family Educator Guide Premier Programming Sponsor: First Citizens Bank Van Gogh and His Inspirations October 4, 2019 – January 12, 2020 Greetings, educators! Guide at a Glance The Columbia Museum of Art is Van Gogh excited to offer you this Educator timeline Guide as a teaching tool and resource pages 2-3 supplementing Van Gogh and His Elementary Inspirations. We hope that you and lesson plans your students find lots of creative and pages 4-7 inspiring ways to learn about Van Gogh’s Middle/high life and art through history, English school lesson language arts, visual arts, and beyond. plans pages 8-11 We also invite you to experience the exhibition through a CMA field trip for an opportunity to enrich Resources students’ creative, critical, sensorial, and academic learning. page 12 Join us! Glossary page 12 Keep your brushes wet, More information Jackie Adams page 13 Director of Education and Engagement Book Your School Trip! Don’t miss your chance to see Van Gogh in Columbia! Reserve a tour for your students to experience Van Gogh and His Inspirations. School programs include an hour-long guided gallery tour and an hour- long studio session. Please complete an online booking form at least one month before your anticipated visit. Van Gogh school tours are free courtesy of Premier Programming Sponsor First Citizens Bank. Quantities are limited so book early. www.columbiamuseum.org/school-tours Major Themes in the Exhibition Spirituality Van Gogh was deeply religious Raised as a Christian, he studied theology and even served briefly as a preacher. -
Ricerche Storiche Salesiane Rivista Semestrale Di Storia Religiosa E Civile
47-RSScop_47-RSScop.qxd 27/11/15 07:26 Pagina 1 2015 - Digital Collections - Biblioteca Don Bosco - Roma - http://digital.biblioteca.unisal.it ISSN 0393-3830 ISTITUTO STORICO SALESIANO FONTI RICERCHE STORICHE Serie prima: Giovanni Bosco. Scritti editi e inediti SALESIANE 1. Giovanni BOSCO, Costituzioni della Società di S. Francesco di Sales [1858] - 1875. RIVISTA SEMESTRALE DI STORIA RELIGIOSA E CIVILE Testi critici a cura di Francesco Motto (= ISS, Fonti, Serie prima, 1). LAS-Roma, 1981, 272 p.(in folio) + 8 tav. € 15,49* 2. Giovanni BOSCO, Costituzioni per l’Istituto delle Figlie di Maria Ausiliatrice (1872-1885). Testi critici a cura di Cecilia Romero (= ISS, Fonti, Serie prima, 2). LAS-Roma, 1982, 358 p. + 8 tav. f.t. € 10,33 4. Giovanni BOSCO, Memorie dell’Oratorio di S. Francesco di Sales dal 1815 al 1855. In troduzione, note e testo critico a cura di Antonio Ferreira Da Silva (= ISS, Fonti, Serie prima, 4). LAS-Roma, 1991, 255 p. € 10,33 47 ANNO XXIV - N. 2 LUGLIO-DICEMBRE 2005 5. Giovanni BOSCO, Memorie dell’Oratorio di S. Francesco di Sales dal 1815 al 1855. Intro duzione e note a cura di Antonio Ferreira Da Silva (= ISS, Fonti, Serie prima, 5). LAS-Roma, 1991, 236 p. [edizione divulgativa] € 10,33 RICERCHE STORICHE SALESIANE RICERCHE STORICHE 6. Giovanni BOSCO, Epistolario. Vol. I (1835-1863) lett. 1-726. Introduzione, note critiche e storiche a cura di Francesco Motto (= ISS, Fonti, Serie prima, 6). LAS-Roma, 1991, 718 p. € 25,82* 8. Giovanni BOSCO, Epistolario. Vol. II (1864-1868) lett. 727-1263. Introduzione, note critiche e stori che a cura di Francesco Motto (= ISS, Fonti, Serie prima, 8). -
Gallery Texts Van Gogh En Japan
Gallery texts exhibition Van Gogh & Japan Inhoud Gallery texts exhibition Van Gogh & Japan ................................................................ 1 Inhoud......................................................................................................................... 1 Floor -1 ....................................................................................................................... 4 Introduction Van Gogh & Japan .............................................................................. 4 Painting: Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887 .... 4 Gallery text: Discovering Japanese prints ............................................................... 4 Colour woodcut: Utagawa Hiroshige, Ishiyakushi: The Yoshitsune Cherry Tree near the Noriyori Shrine, from the series Famous Places near the 53 Stations [Along the Tōkaidō], 1855 .................................................................................... 5 Colour woodcut: Togaku, Finches and Pomegranates, from the series Illustrations of Plants, Trees, Flowers and Birds .................................................. 5 Magazine in showcase: Cover of Paris Illustré, Le Japon, 1 May 1886 ............... 5 Gallery text: Japonisme in Paris .............................................................................. 5 Painting: Vincent van Gogh, In the Café: Agostina Segatori in Le Tambourin, 1887 .................................................................................................................... 6 Painting: -
Looking East: Vincent Van Gogh and Japan
Looking east: Vincent van Gogh and Japan CLIVE YOU Abstract During the formative years of his life in Arles, Vincent van Gogh became deeply enamoured with the art of Japan. This vision, while short-lived, was crucial for the eventual flowering of his unique painting style. Therefore, it is vital for us to understand the Japanese aesthetics and philosophy hidden in his paintings. This article commences with a discussion on the origins of van Gogh’s Japonism interests, and then proceeds with an analysis of how this manifested itself in three periods of his ‘Japanese Era’, including where it drew on Japanese study, philosophy and utopia as well as paintings and prints. The visual analysis technique is widely utilised in this article to consider van Gogh’s paintings and the Japanese influences on their colour, line, texture and size. The research shows that van Gogh established a rich connection to Japanese aesthetics and created the largest numbers of masterpieces of his career in his ‘Japanese Era’. Origin Vincent van Gogh first expressed an interest in Japonaiserie in 1885 while he stayed in Antwerp. At that time, he already owned some Japanese prints; their exotic nature was the primary reason for his fondness of them. In one of his letters, he wrote that he was very much delighted by the Japanese prints he pinned on his walls. Later, when he moved to Paris, he read far more about Japan, and studied a substantial number of Japanese prints. The countryside played a more important role in his career and in his existence as an artist because of the inspiration of peace and beauty that nature provided to his work.1 Eventually, while he lived in Arles, Japanese art and philosophy became major inspirations for van Gogh, affecting his paintings, behaviours and values.