The Forty-First George Eliot Memorial Lecture, 2012- Romola's Artists
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Leonardo in Verrocchio's Workshop
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master National Gallery Company London Distributed by Yale University Press TB32 prelims exLP 10.8.indd 1 12/08/2011 14:40 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2011 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including BRISTOL photocopy, recording, or any storage and retrieval system, without © Photo The National Gallery, London / By Permission of Bristol City prior permission in writing from the publisher. Museum & Art Gallery: fig. 1, p. 79. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria degli Uffizi, Florence © Galleria deg li Uffizi, Florence / The Bridgeman Art Library: fig. 29, First published in Great Britain in 2011 by p. 100; fig. 32, p. 102. © Soprintendenza Speciale per il Polo Museale National Gallery Company Limited Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività St Vincent House, 30 Orange Street Culturali: fig. 1, p. 5; fig. 10, p. 11; fig. 13, p. 12; fig. 19, p. 14. © London WC2H 7HH Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali / Photo Scala, www.nationalgallery. org.uk Florence: fig. 7, p. -
Tobias and the Angel by Verrocchio's Workshop
USING THE PICTURE ACROSS • If you could ask one of the people one question, what THE CURRICULUM would it be? TAKE ONE PICTURE • What do you want to know or find out? Why? Since 1995, the National Gallery has been promoting the use of a single image for cross-curricular work in primary schools Another episode from the same story is depicted in the through the Take One Picture scheme. The scheme enables painting Anna and the Blind Tobit (about 1630) by the Dutch teachers to share good teaching and learning practice and artist Rembrandt. This painting is also in the National Gallery’s the principles of cultural enrichment using a holistic approach collection. Consider both of these works, their techniques, that highlights how subject areas support and inform their social and historical contexts, and their narratives. each other. This way of working gives pupils considerable Art/History/Literacy opportunities for engaging with arts and culture within and The artist used egg tempera to paint the picture. Research outside the school day. Further information on the scheme different recipes for making egg tempera and use these as a can be found at www.takeonepicture.org.uk. starting point for your own investigations and artwork. What happens when you use egg tempera on different surfaces, RESOURCES e.g. paper, wood, cardboard? A digital image of the painting is available at Art/Science www.takeonepicture.org.uk. This can be used in the classroom on an interactive whiteboard or by individuals Verrocchio and his workshop were located in Florence, Italy. on PCs. -
Challenges Old and New
Issue no. 23 - December 2015 CHALLENGES OLD AND NEW Our association was founded in defiance of the violent destruction of the Via dei Georgofili bombing. Twenty-two years have now passed since that initial collective reaction of civic pride and compensation, and over the years the kinship and solidarity between the Amici degli Uffizi and the Gallery’s executives has grown ever stronger. A unity matured in the last eight years also thanks to the presence and the essential, precious encouragement of director Antonio Natali. With him the Amici degli Uffizi’s patronage has become bold, to say the least: each and every restoration, exhibition, renovation, donation and intervention within the museum has always been a path of knowledge and enrichment, of shared visions and affections, a continuous challenge for new projects for the betterment of the museum. Natali involved us in the most arduous undertakings for a patron: from the past seemingly hopeless restorations of the Madonna della Gatta by Federico Barocci and of the Adoration of the Shepherds by Gerrit van Honthorst -reduced even today to a mere flash of light on the canvas – to the current restoration of the masterpiece Adoration of the Magi by Leonardo, we continue our mission to support the museum with unwavering determination, without any vanity nor expecting honors or returns, true to our vocation to support the artistic heritage of our museum. I could make a long list of accomplishments, a series of happy occasions and achievements attained by the profitable cooperation with our friend Natali. I prefer instead to remember our brief meetings stolen to the work routine to discuss projects and exhibit ideas; our trip to the United States in 2006 when our strong core of Florentine members was supplemented by the branch “Friends of the Uffizi Gallery”, that has since been gathering resources among generous American donors: our long discussions that have always resulted in a positive outcome, further acquisitions and enrichment of the artistic wealth of our museum. -
Politics and Pastoral in Silas Marner
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2014 Politics and Pastoral in Silas Marner Barbara Hardy Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Hardy, Barbara, "Politics and Pastoral in Silas Marner" (2014). The George Eliot Review. 659. https://digitalcommons.unl.edu/ger/659 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. POLITICS AND PASTORAL IN SILAS MARNER By Barbara Hardy When eighteen-year-old sumameless Eppie stands by Silas Mamer and against Godfrey Cass she joins a line of subversive children in Victorianfiction. Charlotte Bronte's Jane Eyre speaks out against her aunt; Dickens's Oliver Twist asks for more gruel; his Paul Dombey asks the capitalist father,'What is money after all?' One child rebels against adult power; one against institutional power; one against the cash nexus. The children are all economic dependants but there is no emphasis on class. Oliver behaves like a little gentleman; Paul is a little gentleman; Jane tells Brocklehurst she would not like to be poor, and goes to a charitable school for children of gentlefolk. Eppie's father is gentry, her mother a barmaid, but she is the only one of these four rebels who is working-class by upbringing, who chooses the working class, and who rejects the upper class. -
Middlemarch Ebook
MIDDLEMARCH PDF, EPUB, EBOOK George Eliot | 736 pages | 01 Jan 1998 | Wordsworth Editions Ltd | 9781853262371 | English | Herts, United Kingdom Middlemarch PDF Book Sign in. Looking for More Great Reads? Previous Intro. Mayor Vincy 7 episodes, Also in Penguin Classics Deluxe Edition. But I missed, more or less completely, the irony in the portrayal of Dorothea, with her righteous aspirations. You must be a registered user to use the IMDb rating plugin. He too brings a warm heart and a sympathetic imagination to his marriage, and he too finds himself subject to his intransigently selfish spouse because of these same admirable qualities. External Sites. An energetic man in his sixties with a soft Midlands accent, he has focussed on encouraging a revival of interest in Eliot among the populace of Nuneaton and Bedworth, a neighboring town where there is an impressive nineteenth-century almshouse, if little else. Powderell 3 episodes, Later, Dorothea comes to see Rosamond and Rosamond explains the misunderstanding, adding that Will loves Dorothea. A few weeks later, I also quit my job. BJ Gallagher, the author who took the quote as the title of her self-help book, lives in Los Angeles. The proposed Reform Bill, the new railroads, and scientific advances are threatening upheaval on every front. In addition to creating a thoroughgoing and rich portrait of the life of a small early 19th-century town, Eliot produced an essentially modern novel, with penetrating psychological insights and moral ambiguity. In what was the front hall and parlor, there are now slot machines and a pool table. Garth 5 episodes, Patrick Malahide See Article History. -
George Eliot on Stage and Screen
George Eliot on Stage and Screen MARGARET HARRIS* Certain Victorian novelists have a significant 'afterlife' in stage and screen adaptations of their work: the Brontes in numerous film versions of Charlotte's Jane Eyre and of Emily's Wuthering Heights, Dickens in Lionel Bart's musical Oliver!, or the Royal Shakespeare Company's Nicholas Nickleby-and so on.l Let me give a more detailed example. My interest in adaptations of Victorian novels dates from seeing Roman Polanski's film Tess of 1979. I learned in the course of work for a piece on this adaptation of Thomas Hardy's novel Tess of the D'Urbervilles of 1891 that there had been a number of stage adaptations, including one by Hardy himself which had a successful professional production in London in 1925, as well as amateur 'out of town' productions. In Hardy's lifetime (he died in 1928), there was an opera, produced at Covent Garden in 1909; and two film versions, in 1913 and 1924; together with others since.2 Here is an index to or benchmark of the variety and frequency of adaptations of another Victorian novelist than George Eliot. It is striking that George Eliot hardly has an 'afterlife' in such mediations. The question, 'why is this so?', is perplexing to say the least, and one for which I have no satisfactory answer. The classic problem for film adaptations of novels is how to deal with narrative standpoint, focalisation, and authorial commentary, and a reflex answer might hypothesise that George Eliot's narrators pose too great a challenge. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 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 ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
Japanese Branch Report
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The George Eliot Review English, Department of 2016 Japanese Branch Report Eri Satoh Follow this and additional works at: https://digitalcommons.unl.edu/ger Part of the Comparative Literature Commons, Literature in English, British Isles Commons, and the Women's Studies Commons Satoh, Eri, "Japanese Branch Report" (2016). The George Eliot Review. 381. https://digitalcommons.unl.edu/ger/381 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The George Eliot Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. JAPANESE BRANCH REPORT By Eri Satoh On Saturday 28 November 2015 , the Nineteenth Annual Convention of The George Eliot Fellowship of Japan was held at Obirin University. The morning session started with an opening address by Maiko Otake (Oborin University). Two papers were presented in the morning session. The first was chaired by Hiroshi Ikezono (Yamaguchi University) and the second by Michiko Kurisu (Daito Bunka University). The first paper by Shinsuke Hori (Nihon University) was entitled 'Romola (1863): The Description of Nature and Social and Private Spaces in five "Recollections"'. He analyzed how Eliot acquired her writing techniques in the early novels as she developed her recognition of nature described in five 'Recollections'. He pointed out that in 'Recollections' she gradually comes to describe landscape in detail and use such detailed description to project her subjectivity. He concluded that this way of writing, for example, likening life to the stream of a river, can be seen in novels like Romola as well as Adam Bede and The Mill on the Floss. -
The Role of George Henry Lewes in George Eliot's Career
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 2017 The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration Beverley Rilett University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, Reading and Language Commons, and the Women's Studies Commons Rilett, Beverley, "The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration" (2017). Faculty Publications -- Department of English. 186. http://digitalcommons.unl.edu/englishfacpubs/186 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in George Eliot—George Henry Lewes Studies, Vol. 69, No. 1, (2017), pp. 2-34. doi:10.5325/georelioghlstud.69.1.0002 Copyright © 2017 The Pennsylvania State University, University Park, PA. Used by permission. digitalcommons.unl.edudigitalcommons.unl.edu The Role of George Henry Lewes in George Eliot’s Career: A Reconsideration Beverley Park Rilett University of Nebraska–Lincoln Abstract This article examines the “protection” and “encouragement” George Henry Lewes provided to Eliot throughout her fiction-writing career. According to biographers, Lewes showed his selfless devotion to Eliot by encouraging her to begin and continue writing fiction; by foster- ing the mystery of her authorship; by managing her finances; by negotiating her publishing con- tracts; by managing her schedule; by hosting a salon to promote her books; and by staying close by her side for twenty-four years until death parted them. -
Patrons and Facilitators of the Visual Arts in Quattrocento Florence
I Buonomini di San Martino: Patrons and Facilitators of the Visual Arts in Quattrocento Florence Samantha Hughes-Johnson “Beware of practicing your righteousness be- fore other people in order to be seen by them, for then you will have no reward from your Father who is in heaven. Thus, when you give to the needy, sound no trumpet before you, as the hypocrites do in the synagogues and in the streets, that they may be praised by others. Tru- ly, I say to you, they have received their reward. But when you give to the needy, do not let your left hand know what your right hand is doing, so that your giving may be in secret. And your Father who sees in secret will reward you.” Matthew VI: 1–4 Summary: The charitable activities carried out by the Buonomini di San Martino during the Quattrocento have been reasonably well documented by modern historians. Nevertheless, the patronage and financial aid bestowed on fifteenth-century Florentine artists and artisans by this lay confraternity remains unexplored. Accordingly, this article, by employing previously unpublished archival data, will demonstrate how the Buonomini used social networks to procure art- works for the confraternity. Furthermore, the investigation will estab- lish that the confraternity also provided financial aid to artists both famous and obscure who required temporary economic assistance. Founded in 1442 by Archbishop Antoninus of Florence (1389–1459) and aided by the munificence of Cosimo the Elder de’ Medici, the Good Men of Saint Martin brought relief to those who had fallen upon hard times but were considered too honourable to beg for themselves.1 Their charitable activities 1 Trexler, “Charity and the Defense of Urban Elites,” 87–89, states that the document that explains the Buonomini’s constitution is likely a copy of the original and dates from around 1480. -
Abstraction and the Subject of Novel-Reading: Drifting Through Romola
Abstraction and the Subject of Novel Reading: Drifting through Romola DAVID KURNICK Two compelling recent accounts of !ctional characterization, perhaps unsurpris- ingly, take George Eliot as their exemplary case. In fact, in the work by Audrey Jaffe and Catherine Gallagher I’m referring to, Eliot’s method of making characters is all about exemplarity itself. To be sure, Jaffe’s The Affective Life of the Average Man and Gallagher’s “George Eliot: Immanent Victorian” differ in many particulars, most profoundly about the issue of how Eliot asks us to feel about the typicality of her characters: Gallagher describes Eliot’s project as “making us want . the quotidian” (73), while Jaffe argues that in Middlemarch “likeness anxiety takes on tragic proportions.” But whether we conceive of typicality as a condition the novels recommend to us or as a nightmarish vision of undifferentiation the novels make us fear, it seems clear that Eliot’s protagonists take their characteristic shape—their shape as characters—by oscillating between the conditions of radical individuality and radical generality. Jaffe and Gallagher both concentrate on Middlemarch, and it is worth noting that in that novel modern character measures itself not only against a vision of the general or the quotidian but also against a gold standard of epic plenitude. I’m referring to the presentation in the novel’s prelude of Dorothea Brooke as a modern—and thus cruelly diminished and averaged out—version of Saint The- resa. This dynamic, whereby we come to know characters by the epic precedents they fail adequately to revive, is given its most overt delineation in Middlemarch, but it features elsewhere in Eliot’s work. -
Romola: the Emerging Female Self in Renaissance Florence
Annali di Ca’ Foscari. Serie occidentale [online] ISSN 2499-1562 Vol. 50 – Settembre 2016 [print] ISSN 2499-2232 Romola: the Emerging Female Self in Renaissance Florence Sandra Zodiaco (Università Ca’ Foscari Venezia, Italia) Abstract In Romola (1862) George Eliot investigates the complex interplay between the female self and the surrounding cultural stifling milieu to explore the limitations and possibilities of femi- ninity in Renaissance Florence. The author vests the eponymous heroine with an urgent desire to overthrow the socio-political structures founded on male patriarchal values, dominant in Florence and unfitting to accommodate women’s talents, thus echoing the debate about women’s place in mid-Victorian androcentric society. Romola’s aspiration to moral freedom, a vocation alternative to marriage and childbearing, and to an intellectual autonomy unmolested by a long-established patriarchal system, is crushed by the burden of family traditions, past obligations and social respon- sibilities. The purpose of this paper is twofold: to examine the evolution of the heroine’s character through her spiritual journey (which echoes Eliot’s own religious struggle) and to show her triumph over the egotism inherited from patriarchal figures by emerging into the self-denial which lies at the heart of Eliot’s agnostic ethical humanism. Entangled in the universal conflict between individual desire and moral responsibility, Romola stands as an intellectual woman capable to find a balance between dutiful obedience and resistance to the rigid morality outlined by the male social code, thus attaining her autonomous female identity as a fully-individualized human being, and not as a merely ‘Other’ in relation to men.