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Answer: Anna Karenina
2003 Mad City Masters The Whole Family (Andrew Yaphe, Subash Maddipoti, Paul Litvak) Tossnps by Andrew Yaphe 1. His worst novel is probably The Coast ofBohemia, which appeared in the same year as The World ofChance and An Imperative Duty. His last novel, 1916's The Leatherwood God, depicts the Ohio frontier, while Boston was the setting for The Minister's Charge and New York City for A Hazard ofNew Fortunes. FTP, name ~his great American novelist of Indian Summer, A Modern Instance, and The Rise ofSilas Lapham. Answer: William Dean Howells 2. William Dean Howells married a cousin of this man, who was also the subject ofa biography by Howells. He was derided as "Granny" and "Queen Victoria in britches," for his conservatism but not as much as his pro temperance wife, Lemonade Lucy. He vetoed Congress's repeals ofthe Force Acts and the Bland-Allison Act, but he split his party by suspending Alonzo Cornell and Chester Arthur in an attempt to break the corrupt Conkling machine. FTP, name this Republican, who ended Reconstruction when he was elected President in 1876 in a controversial race with Samuel Tilden. Answer: ~utherford B. Hayes 3. William Dean Howells's poem "Pordenone" is about his rivalry with this artist for the hand of Violante. The Duke of Ferrara commissioned this man's The Worship of Venus and Bacchanal ofthe Andrians, while Philip II commissioned his Diana and Actaeon, and the Holy Roman Emperor commissioned his Charles Vas the Victor of Mulhberg. FTP, name this pupil of Giorgione and painter of Sacred and Profane Love and the Venus of Urbino. -
Rubens's Peasant Dance in the Prado
1 David Freedberg Rubens’s Peasant Dance in the Prado.1 Today I want to talk about one of Rubens’s most enchanting paintings, his Dance of Mythological Figures and Villagers in the Prado.2 It is one of his most loveable and most important late works, and though it has been much admired, it has not received anything like the attention, let alone the commentary it deserves. To anyone who knows Rubens’s work, it is clear that the picture must have been painted in the last decade of his life, when, after his long courtly and diplomatic labors, he retired to the countryside with his young bride, Hélène Fourment. There, although he kept his studio in Antwerp very busy with an incessant flow of commissions, both religious and mythological, he concentrated on two main themes: his family, and the life of the Flemish countryside. He painted the landscape he grew to love deeply, and he painted the peasants who lived in it with a mixture of candor, affection, and respect for both their labors and their pleasures. The painting fits perfectly with what we know about Rubens in the 1630s, but when it was painted within that decade is another question. There are many indicators of a date well into the 1630s: the beautiful glow in the evening sky, suffusing the blue sky and wispy clouds, the softness of the dense foliage, the delicate treatment of the farmhouse with its enticing terrace on the right. Consider also the magnificent coloristic treatment of this picture: the ravishing changeant on the lilac dress of the young woman just catching up on the dance in the center rear of the 1 Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on February 2, 2004 and published as “La ‘Danza de aldeanos’ de Rubens en el Prado,” in Historias Mortales: La vida cotidiana en el arte, Madrid: Fundación Amigos del Museo del Prado; Barcelona: Galaxia Gutenberg/Círcolo de Lectores, 2004, 128-142. -
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. -
Renaissance Walking Tour 4
King François I, France’s “Renaissance Prince”, and his Italian-born daughter-in- law Catherine de Medici, dominated 16th-century France both politically and architecturally. François I had his hand in buildings of every kind from the Louvre palace, to the huge church of Saint-Eustache, to the Paris city hall, the Hôtel de Ville. You’ll visit these sites on this tour. Catherine de Medici shared her father-in-law’s passion for building, although almost none of her construction projects survived. But you can and will visit the Colonne de l’Horoscope, a strange remnant of what was once Catherine’s grand Renaissance palace just to the west of Les Halles market. From there, the walk takes you through the bustling Les Halles quarter, stopping to admire the elegant Renaissance-style Fontaine des Innocents and the beautifully restored Tour Saint-Jacques. The walk ends in the trendy Marais, where three Renaissance style mansions can still be admired today. Start: Louvre (Métro: Palais-Royal/Musée du Louvre) Finish: Hôtel Carnavalet/ Musée de l’Histoire de Paris (Métro: Saint-Paul) Distance: 3 miles Time: 3 - 3.5 hours Best Days: Tuesday - Sunday Copyright © Ann Branston 2011 HISTORY Religious wars dominated the age of Catherine de Medici and her three Politics and Economics sons. As the Protestant reformation spread in France, animosities and hostilities between Protestants and Catholics grew, spurred on by old family The sixteenth century was a tumultuous time in France. The country was nearly feuds and ongoing political struggles. In 1562, the Huguenots (as French bankrupted by wars in Italy and torn apart repeatedly by internal political intrigue Protestants were called) initiated the first of eight religious civil wars. -
Tizian, Des Meisters Gemälde in 260 Abbildungen
DES MEISTERS GEMÄLDE I"N 260 ABBILDUNGEN LIBRARY Brigham Young University Digitized by the Internet Archive in 2012 with funding from Brigham Young University http://archive.org/details/tiziandesmeisterOOfisc — KLASSIKER DER KUNST IN GESAMTAUSGABEN Von dieser Sammlung sind bislang erschienen: Bd. I : RAFFAEL. Des Meisters Gemälde in 203 Ab- bildungen. Mit einer biographischen Ein- leitung von Adolf Rosenberg. 3. Aufl. Gebunden M. 5. Bd. II: REMBRANDT. Des Meisters Gemälde in 565 Abbildungen. Mit einer biographischen Einleitung von Adolf Rosenberg. 2. Aufl. Gebunden M. 10.— Bd. III: TIZIAN. Des Meisters Gemälde in 260 Ab- bildungen. Mit einer biographischen Ein- leitung von Dr. Oskar Fischel. 2. Aufl. Gebunden M. 6. Bd. IV: DÜRER. Des Meisters Gemälde, Kupfer- stiche und Holzschnitte in 447 Abbildungen. Mit einer biographischen Einleitung von Dr. Valentin Scherer. Geb. M. 10.— Bd. V: RUBENS. Des Meisters Gemälde in 551 Ab- bildungen. Mit einer biographischen Ein- leitung von Adolf Rosenberg. Gebunden M. 12.— Bd. VI: VELAZQUEZ. Des Meisters Gemälde in 146 Abbildungen. Mit einer biographischen Einleitung von Walther Gensei. Gebunden M. 6. Bd. VII: MICHELANGELO. Des Meisters Werke in 166 Abbildungen. Mit einer biogra- phischen Einleitung von Fritz Knapp. Gebunden M. 6.— TIZIAN Klassiker der Kunst IN GESAMTAUSGABEN DRITTER BAND TIZIAN STUTTGART und LEIPZIG DEUTSCHE VERLAGS-ANSTALT 1906 Berlin, Kaiser Frledrlch-Museun Auf Leinwand, H. 0,96, li. (),; Selbstbildnis Tizians Portrait of Titian Um 1550 Portrait de l'artiste Nach einer Aufnahme von Kranz Hanfstaengl, München TIZIAN DES MEISTERS GEMÄLDE N 260 ABBILDUNGEN MIT EINER BIOGRAPHISCHEN EINLEITUNG VON Dr. OSKAR FISCHEL ZWEITE AUFLAGE STUTTGART und LEIPZIG DEUTSCHE VERLAGS-ANSTALT 1906 Von der ersten Auflage dieses Werkes ist eine Luxusausgabe in hundert numerierten Exemplaren auf eigens dafür angefertigtes feinstes Kunst- druckpapier gedruckt worden. -
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
The Aesthetic Horizon in Theology
PRESIDENTIAL ADDRESS CREATIVE IMAGINATION: THE AESTHETIC HORIZON IN THEOLOGY I When we walk into a basilica of the fifth or sixth centuries (or into a church patterned after the basilica), or when we walk into a Gothic cathedral (whether it be Bourges or St. Patrick's in New York), we have a specific, intense experience of a church building and of a church community. It is possible to look into the being of the church precisely through the architecture of a specific period. Aisle and apse define an era culturally and historically. Our aesthe- tic vision—at the service of theology—grasps poignantly the his- tory of the church in its forms, because ecclesial institutions as well as theological expression show forth parallels to the history of art. Robert Nisbet has argued that sociology is an art form; like the arts, sociology has styles, landscapes, portraits.1 Ecclesiology, too, can be treated aesthetically, for a style of enclosed space (and its accompanying architectural theory, always akin to some metaphysics) explains which forms the church assumed in a par- ticular era and why. A building's control of space orders and conducts human movement through the lines made by stone, wood, glass and light. This affects liturgy, and ministry, for ar- chitecture unfolds and limits the space where human beings live: in the case of ecclesiology, the space where Christians meet, pray and worship; the space out of which they minister. Architectural space can be ministerial or sacral as it circumscribes and describes church A basilica such as Santa Sabina arranges a place for community. -
Archives Des Musées Nationaux Palais Du Louvre Et Autres Résidences (Série T)
Archives des musées nationaux Palais du Louvre et autres résidences (série T) Répertoire numérique n° 20144794 Camille Fimbel, Hélène Brossier et Audrey Clergeau archivistes sous la direction de la mission des archives du ministère de la Culture et de la communication à partir des inventaires rédigés par les agents des Archives des musées nationaux Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2014 1 Mention de note éventuelle https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_053955 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en ilestenfrançais.. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Archives nationales (France) Sommaire Archives des musées nationaux, Palais du Louvre et autres résidences (série T) 6 Organisation 9 1628-1892 9 1896-1973 15 Sécurité, protection contre vol et incendie 15 Affaires et événements affectant les bâtiments et les locaux 16 1794-1913 16 1914-1956 18 Protection 18 1796-1915 19 1918-1936 19 1938-1974 20 Plans du Louvre et consigne de sécurité : plaques photographiques 20 Questions sur la sécurité 20 1796-1832 21 1842-1966 21 Dégâts des eaux 22 Éclairage 23 Chauffage et combustible 24 1794-1897 24 1897-1912 25 1913-1959 26 Téléphone, installation, annuaires, alarmes 26 Mobilier, décoration et aménagements 27 1793-1857 27 1858-1885 28 1872-1952 28 Ascenseurs et monte-charges 28 Rapports journaliers de surveillance suite au vol de la Joconde 29 Rapports journaliers des auxiliaires de surveillance 29 Rapports journaliers du surveillant des eaux, du brigadier fumiste et du chef du 29 matériel Aménagements, décorations, matériel 30 3 Archives nationales (France) Propositions de devis et fournitures diverses 30 Matériel : cadres, bordures, chevalets, cartels, peintures de lettres. -
SYMBOLIC HISTORY Through Sight and Sound
C.G. Bell Symbolic History SYMBOLIC HISTORY Through Sight and Sound 1. Nature: The Perceptive Field Part I 1) Sunrise on the Lacanha River, Chiapas, Mexico (CGB) Sound: Various frogs, superimposed; Sounds of the Night, Houghton Mifflin Where to begin with what rounds on itself, a skein of endless complex — as if Heraclitus' metaballon anapauetai, "hurled about it draws to rest," were crisscrossed, augmented and diminished, within and without, interfused, like water glints, like the cries of frogs. But that is to have begun already, with uncertainty, the amorphous swim of a tropic stream — Thales, "all things come from water." (end frog cries) 2) Human Embryo, 6.5 weeks, Photographed by L. Nilsson, Time-Life Reproduc- tion, from April 30, 1965 Sound: Heartbeat of CGB — stand-in for embryonic pulse Goethe's homunculus in the wide sea. And what other source do we find, if we grope systematic thought to its pre-child or pre-historic origins; organic body to Harvey's embryonic pulse (fade heart); 3) Orion Nebula, U.S. Naval Observatory suns and worlds to the turbulence of galactic foam — that chaos which seems in Genesis either God's first work, or the primal dark on which his spirit moves. 4) Monet, 1914-18, Water Lilies, Sunset, detail; Orangerie, Paris Music: Debussy, 1903-5, La Mer, near end of second movement, Columbia MS 6077 7/1995 Nature: The Perceptive Field 1 C.G. Bell Symbolic History In art, that all-beginning may have waited for the end: the dream-erotic meltings of Mallarmé's "Faun," "on the air drowsy with tufted slumbers," Rimbaud's "le Poème/ De la Mer, infusé d'astres, et lactescent," that "sea, infused with stars, and lactescent," to which Debussy gave tone-color; in painting what swirls through this post-Impressionist Monet, symbolist Redon, the Fauves, to the whirlpool abstracts of Kandinsky's Jugendstil. -
Lesson 09: Michelangelo- from High Renaissance to Mannerism
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook. -
From Antiquity to Winckelmann
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 The Propagation and Proliferation of the Greek Ideal: From Antiquity to Winckelmann Halina Cecily Piasecki Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Classical Archaeology and Art History Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Piasecki, Halina Cecily, "The Propagation and Proliferation of the Greek Ideal: From Antiquity to Winckelmann" (2018). Senior Projects Spring 2018. 164. https://digitalcommons.bard.edu/senproj_s2018/164 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. THE PROPAGATION AND PROLIFERATION OF THE GREEK IDEAL: FROM ANTIQUITY TO WINCKELMANN Senior Project Submitted to The Division of the Languages and Literature of Bard College by Halina Piasecki Annandale-on-Hudson, New York May 2018 PIASECKI 2 The Propagation and Proliferation of the Greek Ideal: From Antiquity to Winckelmann I. Introduction II. The Roman Idea of Greece III. The Renaissance Idea of Greece IV. The Neoclassical Idea of Greece V. -
Rome's Artistic Legacy
^ Education Department Evenings for Educators Los Angeles County Museum of Art 5905 Wilshire Boulevard 2018–19 Los Angeles, California 90036 The Eternal City: Rome’s Artistic Legacy Even for those of us who have never been to Rome, The artworks featured in this packet span many the city can evoke powerful images and associations. centuries, from the second century CE up to the It is the setting of magnificent structures from mid-nineteenth century. The oldest artwork in the antiquity, including the Colosseum and the Pantheon. packet, The Hope Hygieia, can be understood as Roman civilization as a whole is often associated a typical model of ancient Roman art. A marble with mythology, empire, republican government, and sculpture of Hygieia, the goddess of cleanliness, engineering innovation, as well as famous works of or hygiene, it encapsulates the classical ideals of art, literature, and philosophy that continue to shape balance, restraint, and a calm outward expression. our world today. This curriculum packet invites The influence of ancient sculptural models like The teachers and students to explore ancient Rome’s Hope Hygieia on Renaissance art can be clearly seen continued influence through artworks in the special in Italian painter and humanist Giorgio Vasari’s Holy exhibition To Rome and Back: Individualism and Family with Saint Francis in a Landscape from 1542. Authority in Art, 1500–1800, on view until March 17, 2019. The packet’s contents can be used to enrich The Italian painter Artemisia Gentileschi’s Death instruction in history, civics and government, and of Cleopatra, dating to around 1630, can spark English language arts.