The Judgment of Paris Jacob Jordaens
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1186 B.C.E. the Trojan War Greece
1186 B.C.E. The Trojan War Greece The events in the myth of The Judgement of Paris started a period of war called the Trojan War, in which the city of Troy and its allies fought the citystate of Sparta and its allies. Most of what we know of the Trojan War comes from epics such as Homer’s Iliad and O dyssey, but there is evidence that the Trojan War was a real event; the problem is that we don’t know exactly how much of what is described in the Iliad is true. For example, the Iliad features Gods and Goddesses not present in modern society or belief, as well as people that may have been idealized as war heroes. The following is what we know about the events of the Trojan War from the Iliad. Menelaus, the king of Sparta, was so angry that Paris had taken his wife that he set out to wage war with Paris and the city of Troy. To do so, he sent out for certain people to help, such as Odysseus, the hero of the Odyssey, and Achilles, who a seer said the war would not be won without. The Greeks first attacked nearby kingdoms that were supplying Troy, destroying the Trojan economy, killing Trojan hero Hector and looting spoils of war. However, the Greeks couldn’t break down the wall that surrounded Troy, so Odysseus devised a plan now known as the Trojan Horse. The Greeks hid inside a giant wooden horse that they tricked the Trojans to let inside their walls. -
Black Tronies in Seventeenth-Century Flemish Art and the African Presence
tronies BlackBernadette van Haute* in seventeenth-century Flemish art and the African presence * Bernadette van Haute is Associate the Maghreb cannot have been very numerous Professor in the Department of Art History, in Antwerp at that time, and it may be that Visual Arts and Musicology at the University all three masters [Rubens, Van Dyck and of South Africa. Jordaens] used the same model’. More recently Kolfin (2008:78) made a similar statement: Abstract Having a genuine black model at one’s disposal must have been a great event In this article I examine the production of artistically speaking. ... at least two other tronies or head studies of people of African painters from Rubens’ circle made oil origin made by the Flemish artists Peter Paul sketches of this man which seem to have Rubens, Anthony van Dyck, Jan I Brueghel, been inspired by Rubens’ study heads: Jacob Jordaens and Gaspar de Crayer in an Jacob Jordaens ... around 1620 and attempt to uncover their use of Africans1 as Gaspar de Crayer ... in the mid-1620s. models. In order to contextualise the research, Although Jordaens’ studies are definitely of the actual presence of Africans in Flanders the same man, this is harder to ascertain in the case of De Crayer’s work. is investigated. Although no documentation exists to calculate even an approximate Adding to this point of view, Massing (2011:1) number of Africans living in Flanders at that states that Rubens painted the same person time, travel accounts of foreigners visiting four times in the Brussels painting, ‘suggesting the commercial city of Antwerp testify that people of African origin were still rare in to its cosmopolitan character. -
The Judgment of Paris, [In:] I
s T u di e s in anci e nt art and ci v ili z ation 1 0 Kraków 2007 Grzegorz Łaczek Cracow THE JUDGEMENT OF PARIS Cylyndric vessels - pyxides made of ivory are an important group among the products of antic craftsmanship. The vessels of that type were created using the natural properties of this specyfic material. Boxes or other vessels of that type were later used as jewellery or cosmetics containers for women. The outher surface of pyxides was decorated with relief (often figurative), what further increased their esthetic value. The form of such a cylyndric vessel made from this particular section of an elephant tusk has been known in the Mediterraneam area since the bronze age. It was later also employed in the graeco-roman culture. Obviously ceramic pyxides were also discovered, some decorated with polichromy just as other greek vases, others made of metal with a relief or carved decoration. That cylyndric form of a vessel was also aspecially popular during the late antic, beginning from the 4th century. Dur- ing that time reliefs with christian themes started to appear in pyxis decoration As we know it is a tooth (tusk) and has characterystics specyfic for that organ – it is built of enamel, dentine and tooth pulp with neural tissue. Any craftsmanship items are only made of hard dentine that encircles the tooth pulp at the base of the tusk. From this particular section, after sawing the tusk sidewise, it is possible to receive an item simillar in shape to a cylinder empty inside. A bottom part and cover made of other sections of the tusk are fitted to this semi-finished product, thus producing a pecious box. -
Who Was Protagoras? • Born in Abdêra, an Ionian Pólis in Thrace
Recovering the wisdom of Protagoras from a reinterpretation of the Prometheia trilogy Prometheus (c.1933) by Paul Manship (1885-1966) By: Marty Sulek, Ph.D. Indiana University Lilly Family School of Philanthropy For: Workshop In Multidisciplinary Philanthropic Studies February 10, 2015 Composed for inclusion in a Festschrift in honour of Dr. Laurence Lampert, a Canadian philosopher and leading scholar in the field of Nietzsche studies, and a professor emeritus of Philosophy at IUPUI. Adult Content Warning • Nudity • Sex • Violence • And other inappropriate Prometheus Chained by Vulcan (1623) themes… by Dirck van Baburen (1595-1624) Nietzsche on Protagoras & the Sophists “The Greek culture of the Sophists had developed out of all the Greek instincts; it belongs to the culture of the Periclean age as necessarily as Plato does not: it has its predecessors in Heraclitus, in Democritus, in the scientific types of the old philosophy; it finds expression in, e.g., the high culture of Thucydides. And – it has ultimately shown itself to be right: every advance in epistemological and moral knowledge has reinstated the Sophists – Our contemporary way of thinking is to a great extent Heraclitean, Democritean, and Protagorean: it suffices to say it is Protagorean, because Protagoras represented a synthesis of Heraclitus and Democritus.” Nietzsche, The Will to Power, 2.428 Reappraisals of the authorship & dating of the Prometheia trilogy • Traditionally thought to have been composed by Aeschylus (c.525-c.456 BCE). • More recent scholarship has demonstrated the play to have been written by a later, lesser author sometime in the 430s. • This new dating raises many questions as to what contemporary events the trilogy may be referring. -
'The Judgement of Paris' from Robert Graves
Extract, regarding ‘The Judgement of Paris’, from Robert Graves, The Greek Myths: Volume Two. h. Paris's noble birth was soon disclosed by his outstanding beauty, intelligence, and strength: when little more than a child, he routed a band of cattle-thieves and recovered the cows they had stolen, thus winning the surname Alexander.1 Though ranking no higher than a slave at this time, Paris became the chosen lover of Genone, daughter of the river Oeneus, a fountain-nymph. She had been taught the art of prophecy by Rhea, and that of medicine by Apollo while he was acting as Laomedon's herdsman. Paris and Oenone used to herd their flocks and hunt together; he carved her name in the bark of beech-trees and poplars.2 His chief amusement was setting Agelaus's bulls to fight one another; he would crown the victor with flowers, and the loser with straw. When one bull began to win consistently, Paris pitted it against the champions of his neighbours' herds, all of which were defeated. At last he offered to set a golden crown upon the horns of any bull that could overcome his own; so, for a jest, Ares turned himself into a bull, and won the prize. Paris's unhesitating award of this crown to Ares surprised and pleased the gods as they watched from Olympus; which is why Zeus chose him to arbitrate between the three goddesses.3 i. He was herding his cattle on Mount Gargarus, the highest peak of Ida, when Hermes, accompanied by Hera, Athene, and Aphrodite, delivered the golden apple and Zeus's message: 'Paris, since you are as handsome as you are wise in affairs of the heart, Zeus commands you to judge which of these goddesses is the fairest.' Paris accepted the apple doubtfully. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
The Entombment, Peter Paul Rubens
J. Paul Getty Museum Education Department Who's Afraid of Contemporary Art? Information and Questions for Teaching The Entombment, Peter Paul Rubens The Entombment Peter Paul Rubens Flemish, about 1612 Oil on canvas 51 5/8 x 51 1/4 in. 93.PA.9 Questions for Teaching Look at each character in this painting. Pay particular attention to the pose of the bodies, the facial expressions, and hand gestures. How does the body language of each figure communicate emotion and contribute to the narrative of the story? What do the background details tell you about the story? (In this case, the background details help to locate the story: the rock walls behind the figures, and the stone slab that supports Christ’s corpse show the event is taking place inside Christ’s tomb. Rubens crops the image closely, forcing the viewer to really focus on the emotion of the characters and the violence done to the body of Christ.) What characteristics of this 17th-century painting are similar to contemporary artist Bill Viola’s video installation Emergence (see images of the work in this curriculum’s Image Bank)? What characteristics of the two artworks are different? Peter Paul Rubens made this painting for an altarpiece inside a Catholic chapel. It was intended to serve as a meditational device—to focus the viewer’s attention on the suffering of Christ and inspire devotion. Pretend that you are not familiar with the religious story depicted in the painting. What kinds of emotional responses do you have to this work of art? What visual elements of the painting make you feel this way? Which artwork do you think conveys emotions better, Bill Viola’s Emergence or Peter Paul Rubens’s The Entombment? How does the medium of the artwork—painting or video—affect your opinion? Background Information In this painting, Peter Paul Rubens depicted the moment after his Crucifixion, when Christ is placed into the tomb before his Resurrection. -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
TRQ Layout Def 1-6 Web.Indd
The 2010 Rubenianum 2 Quarterly Rubenianum Fund gathers momentum Dear Friends of the Rubenianum, In the past few months, the Rubenianum Fund has continued to gather momentum. We are delighted to let you know that the The total amount raised so far already exceeds Euro 1.4 million from donors in results so far of the fundraising initiatives of Belgium, the United States, the Netherlands, the United Kingdom, France, Spain the Rubenianum Fund have been immensely and Switzerland. This is especially gratifying in these economically diffi cult times. encouraging. Only three weeks ago, on 21th It signifi es that the fi nal target of Euro 2 million is within reach, although obviously September to be precise, our colleagues of the quite a lot of ground still needs to be covered. Rubenshuis hosted a splendid fundraising dinner for the Dutch community of patrons The next fundraising event will take place in Madrid in the premises of the and collectors living in our country which was Fundacion Carlos de Amberes. This is a most appropriate location, as the Fundacion also attended by the Dutch consul–general. was established at the end of the 16th century by a Flemish merchant who came The benevolent and generous support of a to Madrid. Moreover, it houses an impressive Rubens Altarpiece depicting Saint growing number of international Donors and Andrew in its Chapel of San Andres de los Flamencos. Benefactors made it possible to hire two talented Madrid will also be the venue for the fi rst trip for the donors and benefactors of the junior staff members on a fulltime basis. -
Trojan War - Wikipedia, the Free Encyclopedia Trojan War from Wikipedia, the Free Encyclopedia for the 1997 Film, See Trojan War (Film)
5/14/2014 Trojan War - Wikipedia, the free encyclopedia Trojan War From Wikipedia, the free encyclopedia For the 1997 film, see Trojan War (film). In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen Trojan War from her husband Menelaus king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; its sequel, the Odyssey describes Odysseus's journey home. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful Achilles tending the wounded Patroclus of all women and wife of Menelaus, fall in love with Paris, who (Attic red-figure kylix, c. 500 BC) took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean The war troops to Troy and besieged the city for ten years because of Paris' Setting: Troy (modern Hisarlik, Turkey) insult. -
A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. -
JACOB JORDAENS 1593 - Antwerp - 1678
LE CLAIRE KUNST SEIT 1982 ELBCHAUSSEE 386 ∙ 22609 HAMBURG ∙ TELEFON: +49 (0)40 881 06 46 ∙ FAX: +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE LE CLAIRE KUNST SEIT 1982 JACOB JORDAENS 1593 - Antwerp - 1678 Homage to the Poet Red and black chalk, pen and brown ink, watercolour on paper; c.1660. The sheet enlarged by the artist on all four sides. Inscribed above: Sinne beeld / de Poesie ofte den Poet gekroond met / Lauriere door Apollo / Mercurius hem inschenckende den Nektar / ofte den Ambrosiaen / de nimphem hem met sangen vereerende. 205 x 215 mm PROVENANCE: Jonathan Richardson, Jr. (1694-1771), London (Lugt 2170) – Goodhaert, Brighton – Clifford Duits collection, London; thence by descent LITERATURE: Leo van Puyvelde, Jordaens, Paris and Brussels 1953, p. 195 – Roger-A. d’Hulst, De tekeningen van Jacob Jordaens, Brussels 1956, pp. 281 and 386, no. 160 – Roger-A. d’Hulst, Jacob Jordaens en de Schilderskamer van der Antwerpse Academie, Jaarboek Kononklijk Museum voor Schone Kunsten, Antwerp 1967, pp. 135-6, fig. 3 – Roger-A. d'Hulst, Jordaens Drawings, London and New York 1974, II, A366 and IV, fig. 348 – R.-A. d’Hulst, Jacob Jordaens, (German edition), Stuttgart 1982, p. 258, no. 228, repr. – Claudia Brink and Wilhelm Hornbostel (eds.), Pegasus und die Künste, exhib. cat., Museum für Kunst und Gewerbe Hamburg, Munich 1993, p. 208, no. IV.23, repr. – Christian Dittrich, Allegorie der Dichtkunst von Jacob Jordaens, in ‘Dresdener Kunstblätter, Zweimonatsschrift der Staatlichen Kunstsammlungen Dresden’, 4/97, Dresden 1997, pp. 127-9. EXHIBITIONS: Mortimer Brandt Gallery, New York 1940, no.