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Year of Le Nôtre
ch VER ât Sail ecouverture conférence de presse version déf.indd 1 aules 18/01/2012 13:01:48 3 CONTENTS Press conference - 26 january 2012 Foreword 4 Versailles on the move 7 The exhibitions in versailles 8 Versailles to arras 12 Events 13 Shows 15 Versailles rediscovered 19 Refurnishing versailles 21 What the rooms were used for 26 Versailles and its research centre 28 Versailles for all 31 2011, Better knowledge of the visitors to versailles 32 A better welcome, more information 34 Winning the loyalty of visitors 40 Versailles under construction 42 The development plan 43 Safeguarding and developing our heritage 48 More on versailles 60 Budget 61 Developing and enhancing the brand 63 Sponsors of versailles 64 Versailles in figures 65 Appendices 67 Background of the palace of versailles 68 Versailles in brief 70 Sponsors of the palace of versailles 72 List of the acquisitions 74 Advice for visitors 78 Contacts 80 4 Foreword This is the first time since I was appointed the effects of the work programme of the first phase President of the Public Establishment of the Palace, of the “Grand Versailles” development plan will be Museum and National Estate of Versailles that I considerable. But the creation of this gallery which have had the pleasure of meeting the press. will present the transformations of the estate since Flanked by the team that marks the continuity Louis XIII built his hunting lodge here marks our and the solidity of this institution, I will review the determination to provide better reception facilities remarkable results of 2011 and, above all, the major for our constantly growing numbers of visitors by projects of the year ahead of us. -
Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk -
BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
Myth Homeric Hymn Assignment
Left: Artemision Bronze (Zeus or Poseidon). c. 460 BCE. National Archaeological Museum of Athens. Above: Hades and Persephone. Attic red figure kylix, attributed to the Codrus Painter. ca. 430 BCE. British Museum Project Assignment: Homeric Hymn For this project, you will write a “mini” Homeric Hymn (mini as opposed to the longer Homeric Hymns we have read) to the god of your choice. Your hymn should not exceed one page in length and should include the major formal elements of Hymns that we have discussed in class: 1) Address to/identification of the deity 2) Praise of the deity • Birth/parentage • Sedes (“abodes”): birthplace, major cult sites, favorite cities/areas • Timai: powers, responsibilities, spheres of influence • Attributes • Epithets 3) [Mythical narrative—optional] 4) Farewell/request You may want to look over the slides from 8.24.18 (specifically, the sections on attributes and epithets) and 9.21.18 (on elements of hymns) for more details. See also the examples of hymns on the following page. Lists of epithets and cult sites for the major deities are available on theoi.com but you should feel free to modify these and even invent your own! Projects will be graded on the following criteria: 1) Inclusion of the required formal elements (50%). You must include items 1, 2, and 4 from the list above and item 2 must include at least 3 of the possible elements bullet-pointed below. 2) Originality/creativity (50%). You will not receive full credit for simply re-writing a pre-existing hymn in more “contemporary” language! Below are some examples of “real” Homeric Hymns. -
Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway. -
The Augustinian Nursing Sisters Ince Blundell Hall Inspection Report
The Augustinian Nursing Sisters The Augustinian Nursing Sisters Ince Blundell Hall Inspection report Ince Blundell Hall Ince Blundell Liverpool L38 6JL Date of inspection visit: 7 and 9 October 2015 Tel: 0151 929 2596 Date of publication: 30/12/2015 Ratings Overall rating for this service Requires improvement ––– Is the service safe? Requires improvement ––– Is the service effective? Requires improvement ––– Is the service caring? Good ––– Is the service responsive? Requires improvement ––– Is the service well-led? Requires improvement ––– Overall summary This unannounced inspection of The Augustinian Nursing respite care. The home is a Catholic service although is Sisters Ince Blundell Hall took place on 7 & 9 October open to people outside this faith. The home is a listed 2015. building, set within 55 acres of well-maintained grounds and has many features within it, such as a private chapel. Ince Blundell Hall provides accommodation, support and nursing care for up to 22 people. The service is owned A registered manager was in post. A registered manager is and managed by the Augustinian Nursing Sisters, several a person who has registered with the Care Quality of whom have lived and worked in the service for many Commission to manage the service. Like registered years. The service admits people for long term care but also offers short term support for people who require 1 The Augustinian Nursing Sisters Ince Blundell Hall Inspection report 30/12/2015 Summary of findings providers, they are ‘registered persons’. Registered however a needs based assessment tool to identify the persons have legal responsibility for meeting the number of staff required, was not in place. -
Augustus Buys Rome
Augustus buys Rome His conquests made Augustus the richest man of the Roman Republic. He could afford to cover all expenses that up to then had been covered by the whole of the Roman aristocracy together. Thus every citizen of Rome became his client and Augustus unchallenged sole ruler. Augustus buys Rome 01 The enemy is defeated After the Battle of Actium, Egypt fell into the hands of Octavian, the victor. The defeated, Marc Antony and his Egyptian queen, committed suicide. Cleopatra’s death, painting by Jean-Baptiste Regnault, 1796/99, Museum Kunstpalast, Düsseldorf. Source: Wikicommons. Augustus buys Rome 02 Jackpot! Octavian finally had access to the resources of a country that could have been part of the Roman Empire long ago. Egypt was weak, but the senate had refrained from invading it so that no senatorial member could win its enormous resources. From then on the land of the Nile was put directly under the control of the emperor. He considered the ‘Granary of Rome’ his personal property and no one was permitted to set foot on it without his explicit consent. Illustration from ‘Description de l’Egypte’, between 1821 and 1826. Photo: Wikicommons. Augustus buys Rome 03 Fight war to bring peace Octavian’s newly acquired riches allowed for a personality cult like Rome had never seen it before. Coins, statues, buildings and literature from the time all bear witness of Octavian’s celebration of himself as the founder of the golden age. This coin motif alludes to the solemn ceremony in which, during times of peace, the temple doors, the ‘Gates of Janus’, were closed. -
Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, Art, Art History and Design, School of School of Art, Art History and Design 5-2017 Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/artstudents Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Architectural History and Criticism Commons, Catholic Studies Commons, Christianity Commons, European History Commons, History of Christianity Commons, History of Religion Commons, Liturgy and Worship Commons, Medieval History Commons, Medieval Studies Commons, Metal and Jewelry Arts Commons, Other History of Art, Architecture, and Archaeology Commons, Other Philosophy Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Kilgore, Claire, "Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen" (2017). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 121. http://digitalcommons.unl.edu/artstudents/121 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN By Claire Kilgore A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Alison Stewart Lincoln, Nebraska May, 2017 VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN Claire Kilgore, M.A. -
A Statue of Aphrodite in the Royal Ontario Museum
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 A Statue of Aphrodite in the Royal Ontario Museum Cornelia G. Harcum To cite this article: Cornelia G. Harcum (1921) A Statue of Aphrodite in the Royal Ontario Museum, The Art Bulletin, 4:2, 45-58, DOI: 10.1080/00043079.1921.11409714 To link to this article: http://dx.doi.org/10.1080/00043079.1921.11409714 Published online: 22 Dec 2015. Submit your article to this journal View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Nanyang Technological University] Date: 09 May 2016, At: 01:43 Downloaded by [Nanyang Technological University] at 01:43 09 May 2016 '\'O HO S T O , \{ O YAI .OS T AH( O :'II u. ·n:u ~ ( 0'" ,\ 11 ( '11,1-:0 1.0 <:\': r .: s us TIn: :'\IOTIIEII A Statue of Aphrodite in the Royal On tario Museum By CORNELIA G. HARCUM IN 1909 the Royal Ontario Museum of Archreology acquired a Parian marble statue, which came originally from the mainland of Greece, and with its basis is just six feet high. It was presented to the museum by Sigmund Samuel, Esq. The woman, or goddess (PI. IX), stands majestically with weight resting on her right foot, her right hip projecting, her left knee bent and slightly advanced. She looks in the direction of the free foot. The position gives the impression of perfect repose yet of the possibility of perfect freedom and ease of motion. -
Attic Inscriptions in UK Collections Ashmolean Museum Oxford Christopher De Lisle
Attic Inscriptions in UK Collections Ashmolean Museum Oxford Christopher de Lisle AIUK VOLUME ASHMOLEAN 11 MUSEUM 2020 AIUK Volume 11 Published 2020 AIUK is an AIO Papers series ISSN 2054-6769 (Print) ISSN 2054-6777 (Online) Attic Inscriptions in UK Collections is an open access AIUK publication, which means that all content is available without Attic Inscriptions charge to the user or his/her institution. You are allowed to read, download, copy, distribute, print, search, or link to the in UK Collections full texts of the articles in this journal without asking prior permission from either the publisher or the author. C b n a This paper is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International Licence. Original copyright remains with the contributing author and a citation should be made when the article is quoted, used or referred to in another work. This paper is part of a systematic publication of all the Attic inscriptions in UK collections by Attic Inscriptions Online as part of a research project supported by the Arts and Humanities Research Council (AHRC): AH/P015069/1. PRINCIPAL PROJECT AIO ADVISORY INVESTIGATOR TEAM BOARD Stephen Lambert Peter Liddel Josine Blok Polly Low Peter Liddel Robert Pitt Polly Low Finlay McCourt Angelos P. Matthaiou Irene Vagionakis S. Douglas Olson P.J. Rhodes For further information see atticinscriptions.com Contents CONTENTS Contents i Preface ii Abbreviations iv 1. The Collection of Attic Inscriptions in the Ashmolean Museum xiii 2. The Inscriptions: A Decree, a Calendar of Sacrifices, and a Dedication 9 1. Proxeny Decree for Straton, King of the Sidonians 9 2. -
Calontir Heralds Handbook
Calontir Herald’s Handbook Third Edition [updated 2014] This Page Intentionally Left Blank From the Gold Falcon Principal Herald Greetings to one and all! I would like to thank all those individuals who give of their time and efforts in the service of heraldry for the Kingdom of Calontir and the Society. Whether it’s through an aspect of vocal heraldry (making event announcements, handling camp cries, doing court); field heraldry (calling rounds, directing participants, announcing winners); pageantry (presenting combatants & consorts, helping with display, holding heraldic competitions); book heraldry (creating devices, documenting names, running consulting tables, providing commentary); ceremonial & protocol heraldry (researching period grants, writing scroll text, keeping an Order of Precedence); silent heraldry (assisting those with hearing impairments) or through support of those involved in an aspect of heraldry…the kingdom would not run as smoothly without your endeavors This is the third edition of the Calontir Herald’s Handbook published for both heralds within the kingdom and other individuals interested in the various aspects that the art and science of heraldry takes within the SCA and in Calontir specifically. We hope that all will find this publication to be a valuable resource. As the SCA’s knowledge of heraldry continues to develop there come changes to the standards and policies that heralds need to be aware of. Readers of this handbook will note some changes from previous editions, so whether you are new to heraldry, or are a more experienced herald, please take the time to read through the handbook to acquaint yourself with the material that it contains. -
Towards Modernist Collecting: Some European Practices of the Long Term
NORDISK MUSEOLOGI 1993•2, S. 87-98 TOWARDS MODERNIST COLLECTING: SOME EUROPEAN PRACTICES OF THE LONG TERM Susan Pearce The beginning ofmodernist collecting, and, ofthe particular kinds ofknowledge and experience which it embodies are usually considered to begin within the fifteenth cen tury, where interests concentrates on the accumulations ofthe Medici, and upon the cabinets ofcuriosities, which begin to appear, as the century draws to a close. Howeve1; this early modern collecting practice did not crystalize out ofnothing. The standard procedures ofhistorical investigation can suggest some obvious predecessors: the collec tions ofrelics and treasures acquired by the great medieval churches and princes; the collections of Greek art acquired by first century and later Romans; and the material held in Greek temples, described for us by Pausanius. But underlying all this collecting activity it is perhaps possible to discern some characteristics ofthe European tradition which inform collecting, and make it likely that modernist collecting, when it finally comes into being with the rest ofmodernist practice, will take the shape and signifi cance which it has done. 1 This paper2 endeavours to single out some very important themes, which will be dis of these fundamental European characte cussed at befitting length elsewhere. ristics, and to suggest why they are signifi Meanwhile, this discussion of some long cant. There are many related issues which term European practices, in Braudel's sen cannot be addressed here, and these inclu se of the term (see, for example, Bintliff de a definition of collecting, a view of 1991), and their relationship to collecting what constitutes 'Europe' and its 'tradi practice, is offered here as a contribution tion', and the significance which this may to the debate.