The Art of Observation, from Visual Artworks to Medical Diagnosis
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MAURIZIO NOBILE 23 N. 23 N. 23 2020 MAURIZIO NOBILE N. 23 Coordinamento scientifico di Laura Marchesini Autori delle schede Francesca Baldassari, Gabriele Fattorini, Chiara Fiorini, Giancarlo Gentilini, Francesco Leone, Laura Marchesini, Massimo Pulini, Marco Riccòmini, Davide Trevisani, Francesca Valli Questo è il XXIII catalogo della mia carriera ormai trentennale. Ogni volta che presento la mia selezione si rinnova in me l’emozione per ogni opera che ho scelto, studiato e acquisito. Fortu- natamente è ancora l’entusiasmo, nonostante le difficoltà che attraversa il Mercato dell’Arte da qualche anno, che mi guida nella ricerca quoti- diana dei pezzi portandomi a viaggiare in Italia e all’estero e a visitare collezioni private e colleghi. Così nasce questo catalogo come una raccolta di disegni, dipinti e sculture dal XVI al XX secolo che mi rappresenta. Queste opere rispecchiano il mio gusto e, in un certo senso, sono anche le tes- sere di un «mosaico» ideale che compone la mia stessa storia, perché ciascuna è un amore, una speranza, una riconferma, un insegnamento, il ricordo di un viaggio e di un incontro e, a volte, perché no, anche un’arrabbiatura. La scelta di comprendere grafica, pittura e scultura vuole sottolineare l’ampiezza dei miei interessi e, con l’occasione del TEFAF, presentare anche al pubblico di Works on Paper la poliedricità della mia ricerca e delle mie scelte, anche al di là del Disegno, che resta comunque per me una delle mie grandi passioni. Maurizio Nobile 5 1 GIORGIO GANDINI DEL GRANO parma, fine del xv secolo — 1538 Studio per sette figure, c. -
The Medici Aphrodite Angel D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection. -
Invention of Hysteria : Charcot and the Photographic Iconography of the Salpêtrière / Georges Didi-Huberman ; Translated by Alisa Hartz
Invention of Hysteria This page intentionally left blank Invention of Hysteria Charcot and the Photographic Iconography of the Salpêtrière Georges Didi-Huberman Translated by Alisa Hartz The MIT Press Cambridge, Massachusetts London, England Originally published in 1982 by Éditions Macula, Paris. ©1982 Éditions Macula, Paris. This translation ©2003 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or infor- mation storage and retrieval) without permission in writing from the publisher. This book was set in Bembo by Graphic Composition, Inc. Printed and bound in the United States of America. Cet ouvrage, publié dans le cadre d’un programme d’aide à la publication, béné- ficie du soutien du Ministère des Affaires étrangères et du Service Culturel de l’Ambassade de France aux Etats-Unis. This work, published as part of a program of aid for publication, received sup- port from the French Ministry of Foreign Affairs and the Cultural Services of the French Embassy in the United States. Library of Congress Cataloging-in-Publication Data Didi-Huberman, Georges. [Invention de l’hysterie, English] Invention of hysteria : Charcot and the photographic iconography of the Salpêtrière / Georges Didi-Huberman ; translated by Alisa Hartz. p. cm. Includes bibliographical references and index. ISBN 0-262-04215-0 (hc. : alk. paper) 1. Salpêtrière (Hospital). 2. Hysteria—History. 3. Mental illness—Pictorial works. 4. Facial expression—History. -
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer. -
Angelo Caroselli (Roma, 1585 – 1652) the Penitent Magdalene Oil on Canvas Ca
Angelo Caroselli (Roma, 1585 – 1652) The penitent Magdalene Oil on canvas Ca. 1610-15 59 x 75 cm. Angelo Caroselli was born in Rome, the son of Achilles, a dealer in second-hand goods who bought broken silver and gold objects and was a minor but dedicated collector of paintings by renowned painters of the past1. Caroselli was a self-taught, experimental and intellectually curious painter. By 1604 he appears as one of the artists registered at the Accademia di San Luca in Rome, an institution with which he maintained some relationship, at least in the years 1608 and 1636. Caroselli broadened his knowledge of art outside the frontiers of his native region with early trips to Florence in 1605 and Naples in 1613. He was primarily based in Rome from approximately 1615, the year of his first marriage to Maria Zurca from Sicily, and it was there that he must have had a large studio although little is known on this subject. Passeri states that among the regulars in the “bottega” were the Tuscan Pietro Paolini and the painters Francesco Lauri and possibly Tommaso Donnini. Caroselli always kept abreast of the latest developments in art, particularly since Paolini, who arrived in his studio around 1619, initiated him into the first phase of Caravaggesque naturalism. Caroselli’s use of this language essentially relates to form and composition rather than representing a profound adherence to the new pictorial philosophy. Nonetheless, around 1630 it is difficult to distinguish between his works and those of his follower Paolini, given that both artists were fully engaged in the new artistic trend. -
ARTEMISIA GENTILESCHI ARTEMISIA ARTEMISIA GENTILESCHI E Il Suo Tempo
ARTEMISIA GENTILESCHI ARTEMISIA GENTILESCHI e il suo tempo Attraverso un arco temporale che va dal 1593 al 1653, questo volume svela gli aspetti più autentici di Artemisia Gentileschi, pittrice di raro talento e straordinaria personalità artistica. Trenta opere autografe – tra cui magnifici capolavori come l’Autoritratto come suonatrice di liuto del Wadsworth Atheneum di Hartford, la Giuditta decapita Oloferne del Museo di Capodimonte e l’Ester e As- suero del Metropolitan Museum di New York – offrono un’indagine sulla sua carriera e sulla sua progressiva ascesa che la vide affermarsi a Firenze (dal 1613 al 1620), Roma (dal 1620 al 1626), Venezia (dalla fine del 1626 al 1630) e, infine, a Napoli, dove visse fino alla morte. Per capire il ruolo di Artemisia Gentileschi nel panorama del Seicento, le sue opere sono messe a confronto con quelle di altri grandi protagonisti della sua epoca, come Cristofano Allori, Simon Vouet, Giovanni Baglione, Antiveduto Gramatica e Jusepe de Ribera. e il suo tempo Skira € 38,00 Artemisia Gentileschi e il suo tempo Roma, Palazzo Braschi 30 novembre 2016 - 7 maggio 2017 In copertina Artemisia Gentileschi, Giuditta che decapita Oloferne, 1620-1621 circa Firenze, Gallerie degli Uffizi, inv. 1597 Virginia Raggi Direzione Musei, Presidente e Capo Ufficio Stampa Albino Ruberti (cat. 28) Sindaca Ville e Parchi storici Amministratore Adele Della Sala Amministratore Delegato Claudio Parisi Presicce, Iole Siena Luca Bergamo Ufficio Stampa Roberta Biglino Art Director Direttore Marcello Francone Assessore alla Crescita -
Arion 9.3 Text Winter 2002
Broken: The Venus de Milo AMELIA ARENAS For Trish The most celebrated statue in the world was bought in 1820 by a French official stationed in the island of Melos for about fifty dollars—and a lucky transaction it was, in more than the obvious sense. The peasant who sold it had found it among the ruins of an ancient theater which the locals were scavenging for old marble to feed to their lime furnaces. Were it not for this bargain, the lovely goddess might have met her fate as septic-tank neutralizer or whitewash. Soon after its arrival in France, the work was presented to Louis xviii, who in turn gave it to the Louvre—an excellent chance to get even with the English, one imagines, who four years earlier had snatched the greatest art treasure in the West- ern world, the sculptures of the Parthenon. And the French got their way. Since then, the Venus de Milo (fig. 1) has been the absolute emblem of classical beauty, ranking far higher in the public’s imagination than the carvings of the Parthenon, which are perhaps superior, and certainly no less beautiful. Think of the three magnificent goddesses who once adorned the tem- ple’s east pediment—faceless, ravaged figures, who still lounge on their pedestal at the British Museum with the ease of teenagers watching tv. Apparently, the world has to thank Lord Elgin for having stolen the sculptures of the Parthenon, or rather, whatever was left of them. In the late seventeenth century, the Ottoman army turned the temple into a gun-powder magazine and was even- tually blown to pieces. -
Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus. -
Venus De Milo’ in 19Th-Century France
Lathers 1 Marie Lathers Case Western Reserve University October 2003 **Not for citation or reproduction without consent of author** Venus Restored: The ‘Venus de Milo’ in 19th-Century France Normally slides would accompany this talk If they hang around long enough, works of art all become objects of restoration. I thus begin my talk with a discussion of the term restoration and its multiple meanings during the decades surrounding the French Revolution of 1789. The talk is divided into three sections: after the first, I present in “Discovery of Venus” a brief history of the Venus de Milo, a work of art brought to France in 1821 and that illustrated the several meanings of “restoration” at the time. In the third section, “Reception and Deception,” I examine the reassessment of the statue in the late 19th century, one that turned a “classical” work of the 4th century BCE into a “Hellenistic” one of the 1st to 2nd centuries BCE. In this last section I also analyze the reception of the statue by the public and, briefly, its appearance in literature. I. Restoration At least three discourses privileged the term restoration during the late 18th and early 19th centuries: that of the nascent discipline of art history; that of the equally nascent national and public art museum; and that of the political regime of 1815-30 called the Restoration. The second use of the term links the first and third: the museum is the site on which art history and politics collide and collaborate. Lathers 2 A. Art history. As Frances Haskell and Nicholas Penny note in their study Taste and the Antique, the European restoration of found works of statuary was first systematic in Italy in the 1520s and 30s. -
Azienda Sanitaria Locale Napoli 1 Centro
n. 73Azienda del 23 Dicembre Sanitaria 2013 Locale Napoli 1 Centro Via Comunale del Principe 13/a - 80145 Napoli Comitato Zonale art. 24 Accordo Collettivo Nazionale per la disciplina dei rapporti con i Medici Specialisti Ambulatoriali, Medici Veterinari ed altre Professionalità Sanitarie (Biologi, Chimici, Psicologi) Delibera n° 2091 del 12 dicembre 2013 OGGETTO: Approvazione delle graduatorie definitive dei Medici Specialisti Ambulatoriali, Medici Veterinari ed altre Professionalità Sanitarie (Biologi, Chimici, Psicologi) valide per l'anno 2014 - Invio all'Assessorato Regionale alla Sanità per la pubblicazione sul BURC Struttura Proponente: COMITATO ZONALE ART. 24 - Accordo Collettivo Nazionale per la disciplina dei rapporti con i Medici Specialisti Ambulatoriali, Medici Veterinari ed altre Professionalità Sanitarie (Biologi, Chimici, Psicologi) ai sensi dell’art. 48 della legge n. 833/78 e dell’art. 8 del decreto legislativo n. 502 del 1992 e successive modifiche e integrazioni IL SEGRETARIO IL PRESIDENTE (Dott. Francesco La Rocca) (Dott. Pasquale De Feo) ______________________________________ ___________________________________ Provvedimento: X Immediatamente esecutivo □ Ad ordinaria esecutività □ Soggetto a controllo Premesso: - che presso l'ASL Napoli 1 centro opera il Comitato Zonale previsto dall'art. 24 dell'A.C.N. per gli Specialisti Ambulatoriali, Medici Veterinari e le altre Professionalità (Biologi, Chimici, Psicologi); - che tra i compiti che l'art. 24 dell'Accordo affida al Comitato Zonale vi è quello di predisporre le graduatorie annuali dei Medici/Professionisti aspiranti agli incarichi Ambulatoriali nell'ambito di competenza del Comitato stesso, coincidente con il territorio della provincia di Napoli; - che il Comitato, nella seduta del 5/12/2013 , ha approvato le graduatorie definitive valide per l'anno 2014 allegate al presente atto di cui ne costituiscono parte integrante e sostanziale; fonte: http://burc.regione.campania.it n. -
Twisted: Literal & Phenomenal
Twisted: Literal & Phenomenal Ramiro Diaz-Granados Design Faculty, Southern California Institute of Architecture Principal, Amorphis Twist: To form (something) into a particular shape by all but been exhausted in the past two decades of archi- taking hold of one or both ends and turning them; Turn or tectural production. Examples abound worldwide and at bend into a specified position or in a specified direction; To various scales, and not for unwarranted reasons. A sim- move one’s body so that the shoulders and hips are facing ple twist to a material, form, or body can yield powerful in different directions; Cause to rotate around something effects. The dance craze “the twist” became an overnight that remains stationary; To wring or wrench so as to dislo- sensation throughout the U.S. and Europe when, in one cate or distort; To alter the meaning of: pervert; To cause to summer of the late 1950s, Chubby Checker performed take on moral, mental, or emotional deformity. it on Dick Clark’s “American Bandstand.”4 The main part of its appeal to teens and young adults is that it perverted ‘Turn,’ ‘bend,’ ‘distort,’ ‘pervert.’ These terms are but some what was considered socially acceptable movement be- of the ones selected from definitions of the word twist tween male and female: the gyrating and twisting action found in the Oxford and Merriam-Webster dictionaries. of the body on the dance floor suggested sexual activity “The French translations are: tordre, torquere. Torquere and desire, which dislocated the metaphysic of dancing. (similar to the English torque/torsion) means to turn, to In architecture, a specific kind of dislocation occurs in turn around, to torture. -
The Crisis in the Arts of the Seventeenth Century: a Crisis Of
Journal of Interdisciplinary History, xl:2 (Autumn, 2009), 239–261. CRISIS IN THE ARTS Peter Burke The Crisis in the Arts of the Seventeenth Century: A Crisis of Representation? Because the term crisis in general and the idea of a seventeenth-century crisis in particular have been the objects of acute criticism, a formal deªnition is in order. One might speak, for instance, of a “crisis of conªdence”— in other words, a decline. However, conªdence is not easy to measure, and, in any case, it is necessary to ask, “Conªdence in what” (church, state, or humanity)? In the context of witch trials, discussed in this issue by Edward Bever, the phrase “crisis of con- ªdence” is a precise one, but it becomes vaguer when it is used about the arts. To avoid such a problem, the deªnition of crisis employed herein is a fairly precise one, close to the medical origins of the term in ancient Greece, where it referred to the moment in an illness when a patient was poised between death and recovery, or to seventeenth-century usage, exempliªed by a speech in the House of Commons in 1627 by Sir Benjamin Rudyerd about the “crisis of parliaments” that would determine whether the Parlia- ment would “live or die.” Burckhardt, perhaps the ªrst historian to make a serious use of the term, also used the metaphor of a fever.1 The pathological overtones of this metaphor, however, are an obstacle to understanding, and in what follows an attempt will be Peter Burke is Emeritus Professor of Cultural History and Life Fellow of Emmanuel College, University of Cambridge.