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The Ideal of Lucretia in Augustan Latin Poetry
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-05-07 The Ideal of Lucretia in Augustan Latin Poetry Waters, Alison Waters, A. (2013). The Ideal of Lucretia in Augustan Latin Poetry (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28172 http://hdl.handle.net/11023/705 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Ideal of Lucretia in Augustan Latin Poetry by Alison Ferguson Waters A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA MAY 2013 © Alison Ferguson Waters 2013 ii Abstract This study concerns the figure of Lucretia as she is presented by the Roman historian Livy in the first book of Ab Urbe Condita, where she is intended as an example of virtue, particularly in terms of her attention to woolworking. To find evidence for this ideal and how it was regarded at the time, in this study a survey is made of woolworking references in the contemporary Augustan poets Vergil, Tibullus, Propertius and Ovid. Other extant versions of the Lucretia legend do not mention woolworking; Livy appears to have added Lucretia’s devotion to wool, a tradition in keeping with Augustan propaganda. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
A Story of Five Amazons Brunilde S
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. -
Art List by Year
ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High -
Caroline Murat: Powerful Patron of Napoleonic France and Italy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. -
Fall/Winter 2018
FALL/WINTER 2018 Yale Manguel Jackson Fagan Kastan Packing My Library Breakpoint Little History On Color 978-0-300-21933-3 978-0-300-17939-2 of Archeology 978-0-300-17187-7 $23.00 $26.00 978-0-300-22464-1 $28.00 $25.00 Moore Walker Faderman Jacoby Fabulous The Burning House Harvey Milk Why Baseball 978-0-300-20470-4 978-0-300-22398-9 978-0-300-22261-6 Matters $26.00 $30.00 $25.00 978-0-300-22427-6 $26.00 Boyer Dunn Brumwell Dal Pozzo Minds Make A Blueprint Turncoat Pasta for Societies for War 978-0-300-21099-6 Nightingales 978-0-300-22345-3 978-0-300-20353-0 $30.00 978-0-300-23288-2 $30.00 $25.00 $22.50 RECENT GENERAL INTEREST HIGHLIGHTS 1 General Interest COVER: From Desirable Body, page 29. General Interest 1 The Secret World Why is it important for policymakers to understand the history of intelligence? Because of what happens when they don’t! WWI was the first codebreaking war. But both Woodrow Wilson, the best educated president in U.S. history, and British The Secret World prime minister Herbert Asquith understood SIGINT A History of Intelligence (signal intelligence, or codebreaking) far less well than their eighteenth-century predecessors, George Christopher Andrew Washington and some leading British statesmen of the era. Had they learned from past experience, they would have made far fewer mistakes. Asquith only bothered to The first-ever detailed, comprehensive history Author photograph © Justine Stoddart. look at one intercepted telegram. It never occurred to of intelligence, from Moses and Sun Tzu to the A conversation Wilson that the British were breaking his codes. -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
Wreck: Gericault and the Body in Pieces
Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9. -
(Re)Envisioning Orientalist North Africa: Exploring Representations Of
intersections online Volume 11, Number 2 (Autumn 2010) Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107. ABSTRACT This article explores the politics and aesthetics of “authenticity” in artistic representations of Morocco from the mid-nineteenth century to the present day. Through an analysis of the evolution of European and North African artistic depictions of the Maghreb, I examine how the desire for cultural authenticity in representation has influenced the production and consumption of artistic depictions of this region. Three thematic questions emerge: Who are the objects and what are the objectives of traditional and potentially Orientalist paintings? How do identity politics affect the work of post-modern artists from North Africa who reject the Orientalist stereotypes and traditions of European painters? And what do purchases of art, commercial and avant-garde, say about what is popular or accurate? I begin by discussing nineteenth-century French painter Eugène Delacroix’s paintings of Morocco and Algeria, and the real and perceived authenticity of these works. Next, I study the effects of Delacroix’s “authentic” paintings on artists of European and North African origin, including Matisse, Picasso, Mahieddine, Niati, and others. Finally, by means of interviews conducted during a recent trip to Fes and Tangier, I explore the marketing of traditional cultural experiences to visitors as authentic and the ways in which both Moroccans and tourists literally buy into these ideas. By putting artists and consumers from different time periods and regions into virtual dialogue with each other, this project illustrates the complex ways in which we construct and continually revise notions of authenticity. -
The Word Made Visible in the Painted Image
The Word made Visible in the Painted Image The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller The Word made Visible in the Painted Image: Perspective, Proportion, Witness and Threshold in Italian Renaissance Painting By Stephen Miller This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Stephen Miller All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8542-8 ISBN (13): 978-1-4438-8542-3 For Paula, Lucy and Eddie CONTENTS List of Illustrations ..................................................................................... ix Acknowledgements .................................................................................... xi Introduction ................................................................................................. 1 Chapter One ................................................................................................. 3 Setting the Scene The Rise of Humanism and the Italian Renaissance Changing Style and Attitudes of Patronage in a Devotional Context The Emergence of the Altarpiece in -
The Golden Bough (Vol. 1 of 2) by James George Frazer
The Project Gutenberg EBook of The Golden Bough (Vol. 1 of 2) by James George Frazer This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: The Golden Bough (Vol. 1 of 2) Author: James George Frazer Release Date: October 16, 2012 [Ebook 41082] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE GOLDEN BOUGH (VOL. 1 OF 2)*** The Golden Bough A Study in Comparative Religion By James George Frazer, M.A. Fellow of Trinity College, Cambridge In Two Volumes. Vol. I. New York and London MacMillan and Co. 1894 Contents Dedication. .2 Preface. .3 Chapter I. The King Of The Wood. .8 § 1.—The Arician Grove. .8 § 2.—Primitive man and the supernatural. 13 § 3.—Incarnate gods. 35 § 4.—Tree-worship. 57 § 5.—Tree-worship in antiquity. 96 Chapter II. The Perils Of The Soul. 105 § 1.—Royal and priestly taboos. 105 § 2.—The nature of the soul. 115 § 3.—Royal and priestly taboos (continued). 141 Chapter III. Killing The God. 198 § 1.—Killing the divine king. 198 § 2.—Killing the tree-spirit. 221 § 3.—Carrying out Death. 233 § 4.—Adonis. 255 § 5.—Attis. 271 § 6.—Osiris. 276 § 7.—Dionysus. 295 § 8.—Demeter and Proserpine. 304 § 9.—Lityerses. 334 Footnotes . 377 [Transcriber's Note: The above cover image was produced by the submitter at Distributed Proofreaders, and is being placed into the public domain.] [v] Dedication.