4Th Sunday in Ordinary Time (13 January 2021)

Total Page:16

File Type:pdf, Size:1020Kb

4Th Sunday in Ordinary Time (13 January 2021) 4th Sunday In Ordinary Time (13 January 2021) “…But if a prophet presumes to speak in my name an oracle that I have not commanded him to speak, or speaks in the name of other gods, he shall die.’” (Dt 18:20) Catholics can become easily confused these days. The controversies of the world which divide the world have also come to divide the Church especially as Catholics are encouraged to put the political before the spiritual. The popular media sees this confusion and seeks to become our primary catechist. All the while messages to the faithful continue to vary from pulpit to pulpit. The Catechism has been set aside in many dioceses and parishes as the more progressive minds of the Church wait like patient spiders only to pick it up again at a later date to spin its sacred teaching with worldly revisions at a time that will draw less attention and less scandal because of our increasing confusion and apathy. In today’s first reading from the Book of Deuteronomy we read how the Israelites were afraid and confused by God’s divine manifestations. Thus God sent Moses to tell them that he will raise up for them one from their own kin (Jesus) to speak to them about his word. In our own time many fear what the Church will say to them when it speaks the moral truth and so they prefer to raise up from their own society those who oppose God’s word! The Israelites were fearful of being burned by the fire on God’s mountain. Today many are afraid of being burned by the fire of their own consciences. In the Book of Numbers it is written that Moses was the most humble of everyone on earth. This means he was the most malleable to be forged in the fire of God’s truth. Hence, we place on our bulletin cover for this 4th Sunday in Ordinary Time a work by the Roman painter Domenico Fetti entitled Moses Before the Burning Bush (courtesy Wikimedia Commons). Fetti was a Roman who travelled eventually to Venice where he died a year later. He is said to have been influenced by Peter Paul Rubens and we can see in the fire of the bush, the shadows on the face, the movement of the cloth, and the bristling hair of the goat the baroque vigor of Rubens. Yet, it is the tenebrism of Caravaggio, light emerging from darkness, which here has its greatest effect on Fetti. (We have brightened the image to make it more perceptible in print). Here we see Moses gazing into the fire of God to receive the word of God. He removes his sandals as a sign of his reverence. Near him is his shepherd’s staff which God will empower to free the Israelites from Egypt (Ex 4:2). The goat is a sign of the flock which Moses will shepherd out of captivity. Moses spoke the word of God as God commanded even at the risk of his life (Ex 17:4). Not many of us will be called to guide a nation, but we may be called to guide a family or a classroom or even a conversation. In each of these circumstances the Catholic is expected by God to act as his representative and to speak in his Holy Name. We must come to know and believe our faith, and to speak and live it humbly and honorably before all. .
Recommended publications
  • Il Tempo Di Caravaggio. Capolavori Della Collezione
    COMUNICATO STAMPA Prorogata al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi” ai Musei Capitolini Altri 4 mesi per ammirare il famoso Ragazzo morso da un ramarro di Caravaggio e oltre quaranta dipinti di artisti della sua cerchia, provenienti dalla raccolta del grande storico dell’arte e collezionista Roberto Longhi Roma, 08 settembre 2020 – È stata prorogata fino al 10 gennaio 2021 la mostra “Il tempo di Caravaggio. Capolavori della collezione di Roberto Longhi”, allestita nelle sale espositive di Palazzo Caffarelli ai Musei Capitolini e aperta al pubblico il 16 giugno. L’esposizione, accolta con grande favore dal pubblico e dalla critica, è promossa da Roma Capitale, Assessorato alla Crescita culturale - Sovrintendenza Capitolina ai Beni Culturali e dalla Fondazione di Studi di Storia dell’Arte Roberto Longhi. Curata da Maria Cristina Bandera, Direttore scientifico della Fondazione Longhi, la mostra è organizzata da Civita Mostre e Musei e Zètema Progetto Cultura. Il catalogo è di Marsilio Editori. L’ingresso è gratuito per i possessori della MIC card. L’esposizione è aperta al pubblico nel rispetto delle linee guida formulate dal Comitato Tecnico Scientifico per contenere la diffusione del Covid-19 consentendo, al contempo, lo svolgimento di una normale visita museale. L’esposizione è dedicata alla raccolta dei dipinti caravaggeschi del grande storico dell’arte e collezionista Roberto Longhi (Alba 1890 – Firenze 1970), una delle personalità più affascinanti della storia dell’arte del XX secolo, di cui ricorre quest’anno il cinquantenario della scomparsa. Nella sua dimora fiorentina, villa Il Tasso, oggi sede della Fondazione che gli è intitolata, raccolse un numero notevole di opere dei maestri di tutte le epoche che furono per lui occasione di ricerca.
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience.
    [Show full text]
  • GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque Anni Di Attività
    GALLERIA GIAMBLANCO GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività La GALLERIA GIAMBLANCO, fondata a Torino nel 1993 La Galleria Giamblanco di Torino festeggia da Deborah Lentini e Salvatore Giamblanco, da oltre venticinque anni offre ai suoi clienti dipinti di grandi maestri italiani e stranieri con questo catalogo i suoi primi venticinque anni dal Cinquecento al primo Novecento, attentamente selezionati per qualità e rilevanza storico-artistica, avvalendosi di attività, proponendo al pubblico un’ampia selezione della consulenza dei migliori studiosi. di dipinti dal XV al XIX secolo. Tra le opere più importanti si segnalano inediti di Nicolas Régnier, Mattia Preti, Joost van de Hamme, Venticinque anni di attività Gioacchino Assereto, Cesare e Francesco Fracanzano, Giacinto Brandi, Antonio Zanchi e di molti altri artisti di rilievo internazionale. Come di consueto è presentata anche una ricca selezione di autori piemontesi del Sette e dell’Ottocento, da Vittorio Amedeo Cignaroli a Enrico Gamba, tra cui i due bozzetti realizzati da Claudio Francesco Beaumont per l’arazzeria di corte sabauda, che vanno a completare la serie oggi conservata al Museo Civico di Palazzo Madama di Torino. Catalogo edito per la Galleria Giamblanco da 2017-2018 In copertina UMBERTO ALLEMANDI e 26,00 Daniel Seiter (Vienna, 1647 - Torino, 1705), «Diana e Orione», 1685 circa. GALLERIA GIAMBLANCO DIPINTI ANTICHI Venticinque anni di attività A CURA DI DEBORAH LENTINI E SALVATORE GIAMBLANCO CON LA COLLABORAZIONE DI Alberto Cottino Serena D’Italia Luca Fiorentino Simone Mattiello Anna Orlando Gianni Papi Francesco Petrucci Guendalina Serafinelli Nicola Spinosa Andrea Tomezzoli Denis Ton Catalogo edito per la Galleria Giamblanco da UMBERTO ALLEMANDI Galleria Giamblanco via Giovanni Giolitti 39, Torino tel.
    [Show full text]
  • National Inventory of Continental European Paintings Report NIRP in the North – York City Art Gallery Dr
    National Inventory of Continental European Paintings Report NIRP in the North – York City Art Gallery Dr. Magdalena Łanuszka During my research for the NICE Paintings project in York I have completed the examination of 231 paintings dating from the 15th century to ca. 1900. Most of them have not been researched for the past 40 years and many of them have never been researched at all. The collection was last catalogued in the 1960s and 1970s. As a result of the present research many new aspects of the paintings have been described; new datings, attributions and interpretations have been proposed. Apart from collecting up‐to‐date literature references (and conclusions on the paintings proposed by various scholars in their publications in recent decades), some brand new hypotheses have been suggested. The following report contains the conclusions which are the result of my own study on the paintings and are here proposed for the first time. I would like to thank Mr. Andrew Greg, Director of the NIRP project, for his kind support of my work and a lot of help in editing this report. 1. Attributions YORAG 752 Flagellation of Saint Barbara Attributed in the past to the so‐called Wiener Schottenmeister the Younger (Master of the Schotten Altar II), who led a workshop that created the retable to the Schottenstift in Vienna in 1469 (dated, but by some scholars assumed it had been produced between 1469 and about 1475) of which 21 panels survived (now partly in Schottenstift Museum and partly in Belvedere 1 in Vienna). The Schotten Altar Master was clearly influenced by Nurembergian painting, and he knew Netherlandish art as well.
    [Show full text]
  • Morganhallguide-Print.Pdf
    SOUTH WALL NORTH WALL 1 William Heysham Overend 8 Emanuel de Witte 15 Cigoli (Ludovico Cardi) 22 Jacob Pynas 28 Sir Thomas Lawrence 35 Claude Vignon and Studio 1 Emanuel Gottlieb Leutze 8 Unidentified Artist 15 Cristóbal Villalpando 20 Constance Mayer 26 John Trumbull 32 Carlo Dolci English, 1851–1898 Dutch, 1617 – 1692 Italian, Florence, 1559 – 1613 Dutch, c. 1590 – c.1648 English, 1769 – 1830 French, 1593 – 1670 German, active in America, Italian, Bologna Mexican, 1649 – 1714 (Marie–Françoise–Constance American, 1756 – 1843 Italian, Florence, 1616 – 1686 An August Morning with The New Fish Market in Adoration of the Shepherds, The Adoration of the Magi, 1617 Lady St. John as “Hebe,” c. 1808 Banquet of Anthony and 1816 – 1868 Fantastic Architectural The Archangel Michael, c. 1700 La Martinière) The Death of General Warren Christ Child with Flowers, Farragut; The Battle of Mobile Amsterdam, 1678 c. 1602 Oil on copper Oil on canvas Cleopatra, c. 1630 The Storming of the Teocalli by Perspective, c. 1730–40 Oil on canvas French, 1775 – 1821 at the Battle of Bunker’s Hill, c. 1670s Bay, August 5, 1864, 1883 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin Gift in memory of Mae Cadwell Oil on panel Cortez and His Troops, 1848 Oil on canvas The Ella Gallup Sumner and Mary Catlin Self–Portrait of the Artist with June 17, 1775, 1834 Oil on canvas Oil on canvas The Ella Gallup Sumner and Mary Catlin The Douglas Tracy Smith and Dorothy Sumner Collection Fund, 1959.103 Rovensky, 1961.194 The Ella Gallup Sumner and Mary Catlin Oil
    [Show full text]
  • M. V. BRUGNOLI ©Ministero Dei Beni E Delle Attività Culturali E Del Turismo -Bollettino D'arte
    ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte Come giustamente annota Pietro Zampetti, ordinatore e direttore della mostra, nella introduzione al bel Catalogo - allo Zampetti, insieme con Giovanni Mariacher e Giu­ seppe Maria Pilo, si debbono anche le biografie e le schede degli artisti e delle opere - si tratta "di tutto un com­ plesso mondo, così ricco di personalità, così pieno di pro­ blemi vasti ed intricati; così difficile, infine, a raccogliere in una sintesi ,,: ed opera non certo facile, proprio per le tante eterogenee presenze, deve esser stata la definizione del piano di questa mostra. FIG. I - VIENNA, KUNSTHIST. MUS. - DOMENICO FETTI: TRIONFO DI GALATEA (N. 49, PARTIC.) NOTE ALLA MOSTRA DE "LA PITTURA DEL '600 A VENEZIA " L 27 GIUGNO di quest'anno, con puntuale ricorso I biennale, ha aperto i 'battenti a Ca' Pesaro la decima delle grandi mostre promosse dal Comune di Venezia e dedicate all'antica arte veneta; quest'anno il tema era "La pittura del '600 a Venezia ", e gli ambienti del pa­ lazzo seicentesco si presentavano a vista i più adatti ad ospitare la rassegna. La scelta del tema, determinata da un logico criterio di stretta sequenza storica - la mostra del 1957 essendo stata dedicata a Jacopo Bassano, l'ultima forte personalità del '500, scomparsa allo scadere del secolo dopo aver poste molte premesse per i tempi nuovi -, si imponeva anche su di un piano di attualità, per gli studi e le indagini con­ dotti sull'arte del Seicento con ritmo sempre più serrato in questo ultimo volgere di anni.
    [Show full text]
  • Cv Morselli 2019 Graf
    Morselli RAFFAELLA Professore Ordinario di Storia dell’Arte Moderna Università degli Studi di Teramo UNITE ISTRUZIONE E FORMAZIONE Maturità classica presso il Liceo Classico Virgilio di Mantova Diploma di perfezionamento in "Archivistica, Paleografia e Diplomatica" presso l'Archivio di Stato di Mantova, 11/11/1985 Laurea in Storia dell'arte (Facoltà Lettere e Filosofia), Università degli studi di Bologna, 19/06/1987, Bartolomeo Manfredi (1582-1622), pittore caravaggesco, relatrice Prof. Anna Ottani Cavina Diploma di Perfezionamento in Storia dell'Arte Medioevale e Moderna, Università degli Studi di Bologna, 15/03/1990, Giovanni Campovecchio (1754-1804) e la pittura di paesaggio a Roma, relatrice Prof. Anna Ottani Cavina Dottorato di ricerca in Storia dell'arte Medioevale e Moderna, Università degli Studi di Bologna, VI ciclo 1990/1993, titolo conseguito il 10/03/1995 con una tesi dal titolo Collezionisti e quadrerie a Bologna nel Seicento. Indagine sugli inventari legali del fondo notarile dell'archivio di Stato di Bologna ATTIVIT À DI RICERCA E INCARICHI SCIENTIFICI • Dal 1985 al 1995 attività di ricerca presso il Dipartimento di Arti Visive dell'Università di Bologna sul tema della pittura caravaggesca e del collezionismo bolognese del Seicento • Dal 1987 al 1990 collaborazione tramite schedature del patrimonio storico-artistico della provincia di Mantova con la Soprintendenza per i beni storico-artistici di Brescia-Cremona-Mantova • Nel biennio 1987-89 completo riordino, inventariazione e ricerca documentaria sulla raccolta scientifica delle cere anatomiche del '700 e dell'800 conservate presso il museo di Anatomia Umana Normale dell'Università di Bologna • Nel 1991-1995 attività` di ricerca presso il Museu de Belas Artes di Rio de Janeiro e la Biblioteca National (la collezione di dipinti e disegni italiani del XVII e XVIII secolo) • Dal Novembre 1990 al 1994 consultant per il Provenance Index del J.P.
    [Show full text]
  • Masterpieces from Buckingham Palace
    PRESS RELEASE Thursday, 13 August 2020 Masterpieces from Buckingham Palace The Queen’s Gallery, Buckingham Palace 4 December 2020 – January 2022 Sixty-five paintings that usually hang in the Picture Gallery at Buckingham Palace and are widely acknowledged to be among the highlights of the Royal Collection will be brought together in a gallery exhibition for the first time. In Masterpieces from Buckingham Palace, spectacular works by artists such as Titian, Rembrandt, Vermeer, van Dyck and Canaletto can be enjoyed ‘close up’, and visitors will be encouraged to consider the artists’ intentions, why the paintings were highly prized in their day and why we would now consider these works to be ‘masterpieces’. The exhibition has been made possible by the removal of the paintings from the Picture Gallery, one of the State Rooms at Buckingham Palace, to prepare for the next phase of the Rembrandt van Rijn, Portrait of Reservicing Programme. This major ten-year project will Agatha Bas (‘Lady with a Fan’), overhaul the Palace’s essential services, including lead pipes and 1641 aging electrical wiring and boilers, to ensure the building is fit for the future as an official residence of the Sovereign and a national asset for generations to come. One of the themes explored in the exhibition is the artists' masterly use of paint. In Rubens’ Self-Portrait, 1623, thinly applied pigment brilliantly conveys the translucent quality of flesh, and blue and red highlights help create the impression of three dimensions. The furrowed brows, weather-beaten cheeks and wrinkled skin of Griet Jans and Jan Rijcksen in Rembrandt’s The Shipbuilder and his Wife, 1633, appear to have been sculpted out of paint, vein by vein.
    [Show full text]
  • Still Looking for Pieter Bruegel the Elder
    STILL LOOKING FOR PIETER BRUEGEL THE ELDER By Jamie Lee Edwards A thesis submitted as part of the requirements for the degree of M.Phil(B) in the History of Art School of Languages, Cultures, Art History and Music University of Birmingham 2013 0 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Pieter Bruegel the Elder (c.1526-69) is one of the most renowned sixteenth-century Netherlandish artists. Paradoxically, however, he is also one of the most mysterious and our dearth of known historical information about Bruegel has generated much debate about how his art relates to the religious and political conflicts raging in the Low Countries during the 1560s. Most previous scholarship has attempted to place Bruegel’s allegiances on one side or the other of a Catholic versus Protestant binary, and attempted to demonstrate that Bruegel’s art was conceived and understood as partisan propaganda. By taking a reception-focused approach, this thesis seeks to address this shortcoming in Bruegel scholarship. Chapter 1 is primarily concerned with the intended audience for Bruegel’s art, their beliefs and the ways in which they displayed and interpreted art.
    [Show full text]
  • Holy Figures in Renaissance and Baroque Landscapes
    European Scientific Journal May 2017 /SPECIAL/ edition ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 Journey in Religious Pictures: Holy Figures in Renaissance and Baroque Landscapes Sibel Almelek Isman, (PhD) Dokuz Eylul University/Turkey Abstract Artists have portrayed the beauty and glory of nature since Antiquity. Renaissance and Baroque painters depicted religious episodes in impressive landscapes. The aim of this paper is to examine the sceneries which picturise the journey of a biblical figure or a saint. There are many stories in the bible which involve voyage either on the earth or from the earth towards the heaven. Noah built an ark for himself, his family and the animals and they rode safely in the flood. Abraham sent Hagar and their son Ishmael into the wilderness of Beersheba. Lot, his wife and two daughters left the wicked city of Sodom. Jacob dreamed a ladder set up on the earth toward reached the heaven. The Book of Exodus tells the journeys of Moses. He was put in a basket and left in Nile when he was a baby and later in his adult life he passed through the Red Sea with the children of Israel. Gospels describe several journeys. Three wise men made a trip to see the newborn Jesus. An angel appeared to Joseph and warned him to flee into Egypt with the Infant Jesus. Jesus walked on the Sea of Galilee, when his disciples were waiting on the boat. Jesus was led away to be crucified in the pictures called The Road to Calvary. Jesus walked with two of his disciples on the road to the village of Emmaus.
    [Show full text]
  • Old Master Paintings New York, 4 June 2014, Sale #2855 [All Sold Prices Include Buyer’S Premium]
    Old Master Paintings New York, 4 June 2014, Sale #2855 [All sold prices include buyer’s premium] 83 lots sold Total: $17,932,000/£10,759,200/€13,090,360 75% sold by lot 111 lots offered £0.60= $1 / €0.73=$1 95% sold by value Lot Description Estimate ($) Price Realized Buyer Caspar Netscher (Heidelberg 1639-1684 The Hague), $5,093,000 2,000,000 - 16 Woman feeding a parrot, oil on panel. £3,055,800 Anonymous WORLD AUCTION RECORD FOR THE ARTIST 3,000,000 €3,717,890 $1,805,000 Jacob Isaacksz. van Ruisdael (Haarlem 1628/9-c. 1682 38 Amsterdam), Dunes by the sea, oil on panel. 400,000 - 600,000 £1,083,000 Anonymous €1,317,650 $1,685,000 Pieter Brueghel II (Brussels 1564/5-1637/38 Antwerp), The 500,000 - 800,000 15 Payment of Tithes, oil on panel. £1,011,000 European Institution €1,230,050 Hendrik Frans van Lint, called lo Studio (Antwerp 1684- 1763 Rome), A view of Rome with Saint Peter's Basilica seen from the north, showing the Giardino Segreto with the $869,000 20 arms of Pope Clemente XI Albani and the Giardino Comune, 400,000 - 600,000 £521,400 Anonymous with elegant figures in the foreground, a papal procession €634,370 at right, and the Tiber River beyond, oil on canvas. WORLD AUCTION RECORD FOR THE ARTIST $845,000 David Teniers II (Antwerp 1610-1690 Brussels), Adam and 200,000 - 300,000 12 Eve in the Garden of Eden, oil on copper. £507,000 European Institution €616,850 $665,000 Pieter Brueghel II (Brussels 1564/5-1637/8 Antwerp), 5 Peasants in an open wagon, oil on panel.
    [Show full text]
  • P.1978.PG.200, Portrait of an Unknown Man, C. 1612, Roman School
    P.1978.PG.200, Portrait of an Unknown Man, c. 1612, Roman School Figure 1 Portrait of an Unknown Man, c.1612, Roman School Research Report for the Courtauld Institute of Art Research Forum’s collaborative project Technical Analysis and Art Historical Research By Margaret Barkovic, Postgraduate Diploma in the Conservation of Easel Paintings Margaret Sheehan, MA History of Art June 2015 Portrait of an Unknown Man, c.1612, Roman School P.1978.PG.200 Acknowledgements This report was produced as part of the Courtauld Institute of Art Research Forum collaborative project ‘Conservation and Art Historical Analysis’. We are very grateful to the Research Forum for providing us with the opportunity to participate in this professionally and academically enriching project, and hope that the project will continue to run with success in the coming years. Our thanks go to the following for their invaluable contribution to our research and their generous support throughout the duration of this project. Helen Braham Dr Aviva Burnstock, Courtauld Institute of Art, Dept. of Conservation Dr Sergio Guarino, Pinacoteca Capotolini, Rome Dr Helen Howard, National Gallery, London Dr Daniela Pinna, Pinacoteca Nazionale di Bologna Dr Carmen Roxane Robbin, California State University Dr Elisabeth Reissner, Courtauld Institute of Art, Dept. of Conservation Dr Karen Serres, Courtauld Gallery of Art 3 Portrait of an Unknown Man, c.1612, Roman School P.1978.PG.200 Table of Contents List of Illustrations p. 4 Illustrations pp. 5-17 Introduction pp. 18-19 Material History pp. 19-22 Art Historical Context pp. 23-33 Materials and Techniques pp. 34-38 References pp.
    [Show full text]