'Prepared to Die' Speech Different Versions When He Delivered His
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
煉金術:論象徵概念與創作意識之源 Alchemy: a Study of the Symbols’ Conceptions and Creative Consciousness
國立臺灣師範大學美術研究所繪畫創作理論組 博士論文 指導教授:陳淑華 博士 論文題目: 煉金術:論象徵概念與創作意識之源 Alchemy: A Study of the Symbols’ Conceptions and Creative Consciousness 研究生:張欽賢 撰 2013/03/20 1 煉金術:論象徵概念與創作意識之源 中文摘要 煉金術是註記人類探索自我意識與物質世界的廣袤史觀。它是宗教神 話思想,以及個人洞察自身認知根源的集合體。煉金術統合物質形式的象 徵意識以及精神心靈的昇華幻化,並將之轉變成思想與技藝之間的關鍵聯 繫。藝術家藉此以助於學習外在與內在、題材與創作活性的整合,使繪畫 與其它視覺藝術如同煉金術一般,成為聯接物質與心理世界的範例。回顧 典籍所載,古人所言之藝術與藝術家,亦與煉金術士一般,充滿了神秘難 解之奇幻異數,而非今日所使用詞彙之實質意含。 本篇研究要旨在於探索煉金術思想脈絡以及其象徵系統,各篇皆以傳 統象徵系統引導創作之源,論述象徵體系之中,煉金術為之詮釋作為創造 者的終極創生,指引創作者所需之超越智慧的自然共感,與追尋超越物質 與精神世界的開放思想,以及深刻的創作情緒。本篇論文亦以此尋思古代 習藝者以及現代心理與美學理論,研究存於內心的信仰與創作程序以何種 圖面形式再現虛無的想像。以象徵系統,作為探究抽象概念轉化為繪畫創 作因素之工具與潛意識攫取想像的能力。 關鍵詞:煉金術,四元素,哲人石,曼陀羅,象徵心理,異教藝術。 i Alchemy: A Study of the Symbols’ Conceptions and Origin Consciousness of Creation Abstract Alchemy is the history of humanity’s self-awareness and marvel with the physical world. It is collective and individual research for perspicacity and the origins of religion, mythology, and personal self-identity. Alchemy is at once a symbolic consciousness of substantial forms and a symbolic utterance of the spiritual and psychological transformations of the spirit, became a connection between wisdom and art. The artist has been given the possibility of integrating his outward and inward creation, his subject matter and his creative activity. Painting and other visual arts are one intent example of communication between physical and psychological world, and other is alchemy. If we look back at the whole art history existence, the appearance of art and artist, just like alchemist, seems a curious phenomenon indeed, an ethereal secret that cannot easily be explained in terms of contemporary lexicon that we may real understand. While the thrust of this study is directed at elucidating the history of alchemy and system of symbols, every chapter includes explicable the form of symbols from the origin of traditions. -
The Leiden Collection
Slaughtered Pig ca. 1660–62 Attributed to Caspar Netscher oil on panel 36.7 x 30 cm CN-104 © 2017 The Leiden Collection Slaughtered Pig Page 2 of 8 How To Cite Wieseman, Marjorie E. "Slaughtered Pig." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Slaughtered Pig Page 3 of 8 Seventeenth-century Netherlandish images of slaughtered oxen and pigs Comparative Figures have their roots in medieval depictions of the labors of the months, specifically November, the peak slaughtering season. The theme was given new life in the mid-sixteenth century through the works of the Flemish painters Pieter Aertsen (1508–75) and Joachim Beuckelaer (ca. 1533–ca. 1574), who incorporated slaughtered and disemboweled animals in their vivid renderings of abundantly supplied market stalls, and also explored the theme as an independent motif.[1] The earliest instances of the motif in the Northern Netherlands come only in the seventeenth century, possibly introduced by immigrants from the south. During the early 1640s, the theme of the slaughtered animal—split, splayed, and Fig 1. Barent Fabritius, suspended from the rungs of a wooden ladder—was taken up by (among Slaughtered Pig, 1665, oil on others) Adriaen (1610–85) and Isack (1621–49) van Ostade, who typically canvas, 101 x 79.5 cm, Museum Boijmans van Beuningen, situated the event in the dark and cavernous interior of a barn, stable, or Rotterdam, inv. -
Rembrandt in Southern California Exhibition Guide
An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
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. -
BIO Jakob Cedergren UK 2019
Jakob Cedergren Jakob Cedergren, born in Sweden, raised in Denmark, is an acclaimed award winning actor who had his breakthrough in 2000 in the Danish mini-series The Spider directed by Ole Christian Madsen. Cedergren has worked in numerous film- tv- and theatre projects in Denmark and abroad. One of Cedergrens first leading roles abroad was Rage (2009) by Sally Potter. On stage, Cedergren stood out in the production of The Celebration (2003), Virginia Wolf (2004) and Ordet (2008) at The Royal Danish Theatre. In 2013, he played the role of Nikolaj Stavrogin in the stage adaptation of Dostoyevsky’s novel Demons at the Royal Danish Playhouse. Cedergren has proved his richly faceted talent in numerous of films. Among others, in the role of the bodybu- ilding small time crook Tom in Stealing Rembrandt (2003) and in the role of Daniel, the irresponsible, care- free and charming graffiti artist in the comedy Dark Horse (2005), which was chosen for the Un Certain Re- gard series at Cannes Film Festival. In 2005, Cedergren was appointed Shooting Star under the EFP pro- gramme. In 2009, Cedergren won both the Danish Academy Award and the Critics Associations Award for Best Actor in the featureTerribly Happy (2008) directed by Henrik Ruben Genz. He was nominated for both awards again in 2011 for his leading role in Thomas Vinterberg’s Submarino. In 2014, he was nominated for his lead- ing role in Nils Malmros’ Sorrow and Joy. In 2017, he was nominated for Best Supporting Actor in director Nicolo Donato’s Across the Waters (2016) for his role of N.B. -
Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p. -
News from the Getty
NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: October 29, 2013 MEDIA CONTACT FOR IMMEDIATE RELEASE Amy Hood Getty Communications (310) 440-6427 [email protected] GETTY MUSEUM’S NEWLY ACQUIRED REMBRANDT LAUGHING IS NOW ON VIEW Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn At the J. Paul Getty Museum, Getty Center LOS ANGELES—The J. Paul Getty Museum’s new acquisition Rembrandt Laughing, about 1628, a recently rediscovered self-portrait by one of the most celebrated painters in history, Rembrandt, will be on view at the Museum beginning Tuesday, October 29, 2013. “The Getty Museum possesses the most significant collection of early Rembrandts in the United States, and if you had asked what addition would best cap it off, the answer would have been a self-portrait, which many regard as his greatest and most sustained achievement. But the chances of finding such a work seemed negligible—until the rediscovery of this painting in 2007. It is unquestionably one of the most Rembrandt Laughing, about 1628. Rembrandt Harmensz. remarkable works of art to become available in van Rijn (Dutch, 1606–1669). Oil on copper. 8 3/4 x 6 5/8 in. J. Paul Getty Museum, Los Angeles. recent memory,” said Timothy Potts, director of the J. Paul Getty Museum. Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn (Dutch, 1606– 1669) is an early self-portrait, depicting the artist—who would have been about 22—dressed as a soldier, in deep violet and brown clothes and sporting a gleaming steel gorget. The young man leans back, smiles broadly and catches the viewer’s eye. -
Kuzey Avrupa Resminde “Et Karkasi” Imgesi
DOI: 10.7816/idil-04-16-03 idil, 2015, Cilt 4, Sayı 16, Volume 4, Issue 16 KUZEY AVRUPA RESMİNDE “ET KARKASI” İMGESİ Semih ÖZKAN 1 ÖZET “Et karkası” ya da “Ölü Öküz” betimi, özellikle Kuzey Avrupa resim sanatında sıklıkla karşımıza çıkan sembolik bir imgedir. Konu üzerinde ikonografik değerlendirmeler yapıldığında, Eski Ahit ve İbrani mitlerinde örneğini gördüğümüz bu sembolik imgenin kökeninin daha da eskiye uzandığını görmekteyiz. Hıristiyan sanatına baktığımızda benzer temanın devam ettiğini ve referansları eskiye dayanan bu imgenin bir kurban sembolü olarak değişim geçirdiğini, Hz. İsa’nın kendini insanların günahları için kurban etmesinin görsel karşılığı olarak kullanıldığını görmekteyiz. İsa’nın ölüm biçimi çarmıha gerilme şeklinde olduğu için, kurban edilmiş boğanın öldürüldükten sonra bir karkasa gerilmesiyle ortaya çıkan biçim ile ikisi arasındaki sembolik anlamda bir görsel özdeşlik kurulmuştur. 16. Yüzyıla kadarki örneklerinde, İncil’den alınmış konuları resmeden sahnelerde, kompozisyonun içinde bir unsur olarak yer alırken, 17. Yüzyıla doğru et karkası betiminin kompozisyonun ana öğesi haline geldiği örneklerle karşılaşılmaktadır. Bu makale kapsamında bu imgenin dinsel bir sembol olarak tarihsel süreçte resim sanatındaki ifade ediliş biçimleri, çeşitli örnekler üzerinde ele alınmıştır. Anahtar Kelimeler: Et karkası, Kuzey Avrupa resmi, kurban, Eski Ahit, Yeni Ahit Özkan, Semih. "Kuzey Avrupa Resminde Et Karkası İmgesi". idil 4.16 (2015): 39-56. Özkan, S. (2015). Kuzey Avrupa Resminde Et Karkası İmgesi. idil, 4 (16), s.39-56. 1 Yrd. Doç. Dr., Alanya Hep Üniversitesi, Sosyal Bilimler Enstitüsü, Alanya-Antalya, sozkan1(at)yahoo.com 39 www.idildergisi.com Özkan, Semih. "Kuzey Avrupa Resminde Et Karkası İmgesi". idil 4.16 (2015): 39-56. “HANGING CARCASS” IMAGE IN NORTHERN EUROPEAN PAINTING ABSTRACT “Hanging Carcass” or “Slayed Ox” is a symbolic image which appears especially in Northern European Painting. -
CV Paprika Steen UK 2019
Paprika Steen Playing age: 45-55 Nationality: Danish Education: The Academy of Music and Dramatic Arts, Southern Denmark, 1988-1992 Language: Danish, English and knowledge of German Film Title Role Year Director Domino Hanne Toft 2019 Brian de Palma That Time of Year Katrine 2018 Paprika Steen Undercover Hanne 2016 Nikolaj Peyk Antboy III Alicia Dufort 2015 Ask Hasselbalch Silent Heart Heidi 2014 Bille August Kolbøttefabrikken Acacia 2014 Morten Boesdal Halvorsen Weekendfar (short) Helle 2013 Johan Stahl Winthereik Love Is All You Need Benedikte 2012 Susanne Bier Keep the Lights On Karen 2012 Ira Sachs Superclásico Anna 2011 Ole Christian Madsen Everything Will Be Fine Siri 2010 Christoffer Boe Skeletons Jane 2010 Nick Whitfield Applause Thea Barfoed 2009 Martin Zandvliet Fear Me Not Sigrid 2008 Kristian Levring The Early Years: Erik Nietz.. Ursula Østdal 2007 Jacob Thuesen The Substitute Ulla Harms 2007 Ole Bornedal Adam’s Apples Sarah Svendsen 2005 Anders Thomas Jensen Forty Shades of Blue Lonni 2005 Ira Sachs Stealing Rembrandt Charlotte 2003 Jannik Johansen Open Hearts Marie 2002 Susanne Bier Okay Nete 2002 Jesper W. Nielsen The One and Only Stella 1999 Susanne Bier Mifune Pernille 1999 Søren Kragh-Jakobsen The Idiots High Class Lady 1998 Lars von Trier The Celebration Helene 1998 Thomas Vinterberg TV Title Role Year Director The City & The City Professor Nancy 2018 BBC Modus II Alva Roos 2017 TV4 Under Jorden Naja Toft 2017 Kasper Barfoed/TV2 Partiets Mand Kirsten Hækkerup 2014 Parminder Singh/DR Happy Life Lene Leth 2011-12 Kasper Gaardsøe/TV2 The Inspector and the Sea Line Anders 2007-14 Anno Saul/ZDF Mikkel & Guldkortet Birgitte Johansen 2008 Christian E. -
Submarino a Film by Thomas Vinterberg 01 Submarino Submarino
SUBMARINO A FILM BY THOMAS VINTERBERG 01 SUBMARINO SUBMARINO INTRODUCTION SUBMARINO is the story of two down-and-out brothers haunted by a tragic childhood. Troubled ex-con Nick fights painful memories and loneliness to try and reconnect with his brother, a struggling single father and heroin addict... From the acclaimed director of FESTEN (THE CELEBRATION), DEAR WENDY and IT’S ALL ABOUT LOVE. 02 03 SUBMARINO SUBMARINO SYNOPSIS Not yet out of elementary school, Nick and his younger brother have already been hardened by Nick communicates more easily with his ex-girlfriend’s brother Ivan. He opens up about having poverty, abuse and alcohol. But these two tough boys still find joy in their newborn baby brother. been recently released from prison for his brutal random violence when Ana broke up with him They gladly make up for the shortcomings of their neglectful alcoholic mother and give the infant two years ago. Nick has a soft spot for sex-obsessed overweight Ivan, down-and-out himself and in the loving care which all children deserve. Although shortlived, this glimmer of hope will haunt need of mental help. But Nick’s compassion misjudges the reality of Ivan’s illness... them well into adulthood... Nothing is more important to Nick’s brother than his six-year-old son Martin. No matter how much It’s winter and 30-something Nick is living alone in a gloomy tenement shelter. Moody and he loves his son, being a responsible father isn’t easy for a junkie. Despite the fact that he could anguished, Nick has difficulty controlling his anger. -
Measure for Measure Directed by Amanda Kellock
The Conseil des arts de Montréal en tournée and Repercussion Theatre present Shakespeare-in-the-Park 2019 Measure for Measure Directed by Amanda Kellock “Some rise by sin, and some by virtue fall.” − Escalus, Measure for Measure Set Design Amy KEITH ▪ Costume Design Diana URIBE ▪ Lighting Design/Tour Manager Adam WALTERS Sound Design Evan STEPANIAN ▪ Movement Coach holly GRECO ▪ Shakespeare Coach Bryan DOUBT Assistant Director Rebecca GIBIAN ▪ Stage Manager Danielle LAURIN With Trevor BARRETTE ▪ Samantha BITONTI Alex GOLDRICH ▪ Colin HEATH ▪ Matthew KABWE Qianna MACGILCHRIST ▪ Anton MAY ▪ Gabriella PETROV ▪ Anne-Marie SAHEB ▪ Nadia VERRUCCI Montreal, May 30, 2019 – For the first time in its 31-year history, Repercussion Theatre is presenting William Shakespeare’s Measure for Measure for its summer tour of Shakespeare-in-the-Park. In collaboration with the CAM en tournée, visiting Montreal and surrounding area parks from July 11 to August 11, 2019. Also a first is that the text which, for the past 3 years has been translated into French and accessible on smartphones for Francophone fans of the Bard, is now available in English as well, enabling Anglophone audiences to follow the artful language, courtesy of Plank Design. “O, what may man within him hide, Though Angel on the outward side…” - Duke Vincentio, Measure for Measure Samantha Bitonti (Isabella). Photo by Valerie Baron. Measure for Measure is one of Shakespeare’s later plays, written at the start of the reign of King James, and around the same year that said monarch began work on his version of the Bible. In the play, the Duke of Vienna, concerned by his city’s moral depravity, puts his sternest deputy, Lord Angelo, in charge.