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1991-92 Season
1991-92 Season i **«*„ INDIANA. ESSIONAL OPERA FOR INDIANA !M ~'e^ From A Blank Sheet Of Paper Cadillac Creates The New Seville Substance Takes Shape, Cadillac Style. Seville's independent Speed-Sensitive Suspension The objective was to create a luxury automobile that per continuously adapts to changing road conditions, for forms with the power, agility and road manners of a precise control and constant stability. So whether touring sedan. The result is you're stopping, starting, the 1992 Cadillac Seville, an cornering or accelerating, automobile with technologi you're instantly provided the cal components that work in correct level of firmness. harmony to bolster its per An advanced anti-lock formance capabilities. brake system helps protect Created from the inside out to appeal to the intellect as well as the senses Plower, of course, is you and your passengers essential. Seville's 4.9 liter V8 generates 200 from unexpected and sometimes horsepower, to make such necessary acts as passing and perilous driving situations. merging not only simple, but satisfying. An electronic Substance takes shape, Cadillac jj transmission makes gear changes Style, with the 1992 Seville. C A D I I L A C barely detectable. STYLE * Please call I-800-333-4CAD for product literature and the location of your nearest Cadillac dealer. YOUR CADILLAC DEALERS THE LUXURY LEADERS ^__r___r Buckle UpAmerica! ©1991 CM Corp All Rights Reserved The 1992 Seville. Substance Takes Shape, Cadillac Style. SEVILLE, table of § ontents Messages 3 Indianapolis Symphony Orchestra -
TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
Painting Blindness and Obstructing Vision Rembrandt and the Senses
University of Bergen Department of Linguistic, Literary, and Aesthetic Studies KUN 350 Master’s Thesis in Art History Spring, 2014 Painting Blindness and Obstructing Vision Rembrandt and the Senses Samantha L. Smith 0 Sammendrag/ Norwegian Abstract Denne avhandlingen tar for seg tre malerier av den nederlandske kunstneren Rembrandt van Rijn (1606-1669), og analyserer dem med fokus på tre beslektede temaene blindhet, syn og berøring. Dette temavalget er basert på Rembrandts frekvente bruk av blindhet som motiv. Den teoretiske diskusjonen i avhandlingen er inspirert av Svetlana Alpers analyse i et kapittel fra hennes bok om Rembrandt «The Master's Touch» og av den franske filosofen Jacques Derridas bok «Memoirs of the Blind». Jeg bruker Derridas begrep parergon og ruin for å utforske hvordan vår opplevelse av maleriet blir berørt både av det vi ser og det vi ikke ser, av både det synlige og det usette. Verkene analyseres både i et historisk og et nåtidig lys, ved å utforske hva maleriene kommuniserte til seere da de ble malt, og hva de kommuniserer til moderne seere. I avhandlingen drøfter jeg ulike implikasjoner av konseptet blindhet, i tillegg til å diskutere framstillingen av sansene syn og berøring. På denne måten vil avhandlingen også rette søkelyset mot betydningen av berøring i vår opplevelse av maleri, en tilnærming knyttet til det som er blitt kalt 'the sensory turn'. 1 Acknowledgements Firstly, I would like to express my gratitude to my tutor Jørgen Bakke for his, critical eye, confidence in my project and the clarifying conversations. Thank you to the members of ‘Vitensbilder’ research group. -
Researchonline@ND
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 An exegetical study of the annunciation of Luke 1:26-38 through text and art Kellie Costello Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Religion Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The am terial in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. Chapter IV: Exegesis of Luke 1:26-38 in Four Artworks. In historical criticism, the world in front of the text is an important dimension in the exegetical process. The world of the text refers to the role of the reader in the interpretive process. In this research, the world in front of the text refers to the worlds of the artists of the four artworks being examined. This research seeks to understand how the artists understand the theology in the Lukan account of the annunciation for their time, how their thinking is reflected in their artworks, and how their interpretation is influenced by their historical circumstances. The following sections describe the historical contexts of the early European Renaissance period of Flanders and Spain in the 15/16th century and 20th century contemporary Australia. Historical Context: 15th/16th Century Flanders and Spain The ignorance of Hebrew and Greek in Western Europe in the Middle Ages helped to establish Jerome’s tradition of the Western Church, and thereby nearly all interpretations and commentaries are based on the Latin text. -
I N T E R N a T I O N a L a R T S a N D C U L T U
free SINTERNATIONALFAQ ARTS AND CULTURE ISSUE.10 ONLY WEST COAST VENUE JUL 14 – OCT 14 Man Ray and Lee Miller’s brief, mercurial love affair resulted in some of the most powerful works of each artist’s career, helping shape the course of modern art. See the first exhibition to focus on the pair’s artistic relationship, with approximately 115 photographs, paintings, drawings, and writings exploring the creative interaction between these two giants of European Surrealism. Organized by the Peabody Essex Museum, Salem, MA. Media Sponsors Man Ray (1890–1976), Larmes (Glass Tears), 1933. Gelatin silver print. Private collection. © 2012 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris. Life. Death. The cosmos. ASIAN ART MUSEUM What’s it all about? Provocative new art— PHANTOMS OF ASIA along with objects from FINAL WEEKS THROUGH SEP 16 the museum’s own ENDS SEPT 2 collection—explores Rare canonical black-and-white vintage prints meet luscious, eye-popping www.asianart.org/phantoms spirits and spirituality color work by a range of exciting artists, emerging to iconic, as the Traina in Asia. See Phantoms at our MATCHA events on 7/26 and 8/23, 5–9 pm. Enjoy cash bars, docent collection embraces the documentary impulse in photography and the tours, music by DJ-in-residence Vin Sol, performances, creative experiments, and more. medium’s full-blooded absorption into the world of contemporary art. Just $10. Can’t make it? Check out Phantoms any Thursday night after 5:00 pm for just $5. This exhibition was organized by the Asian Art Museum, San Francisco in collaboration with the Mori Art Museum, Tokyo. -
IMA Photography Archives, 1968-2011 (PHO001)
IMA/PHO001 IMA Photography Archives, 1968-2011, n.d.| Indianapolis Museum of Art Archives By Rebecca Denne and Samantha Norling Collection Overview Title: IMA Photography Archives, 1968-2011, n.d. Collection ID: IMA/PHO001 Primary Creator: Indianapolis Museum of Art Extent: 96 linear feet Arrangement: This collection has been divided into seven series and twelve subseries: Series I: Collections Subseries a: Accessions Subseries b: Loans Subseries c: Clowes Subseries d: Eiteljorg Subseries e: Various and Unidentified Subseries f: Conservation [RESTRICTED] Series II: Installations Subseries a: Exhibitions Subseries b: Galleries Series III: Buildings and Grounds Subseries a: Main Building Subseries b: Grounds and Gardens Subseries c: Oldfields, Newfields, 1330 House, and Garden Terrace Subseries d: Westerley Series IV: Events Series V: People Series VI: Photography Binders Series VII: Licensed Images and Exhibition/Publication Photography Date Acquired: July 24, 2015 and various Language: English IMA Archives PHO001 IMA Photography Archives, 1968-2011, n.d. 1 Scope and Contents of the Materials The IMA Photography Archives were transferred to the IMA Archives from various departments of the Indianapolis Museum of Art, including some transfers before the IMA Archives were officially established. The largest transfer came from the Photography Department on July 24, 2015. Other contributing departments include the Director’s Office, Registration, Stout Reference Library, Audience Engagement, and Public Affairs/Marketing. Some Affiliate Groups of the IMA have also contributed photographic content to this collection. The collection has been divided into seven series as described below. Series I: Collections, 1970-2001, n.d. contains official photography of most, but not all, IMA accessions, loans, Clowes collection of European painting and sculpture, Eiteljorg collection of African art, Antiquities, Asian, American, Contemporary, Decorative, Design, European, Fashion, and Textile art collections, unidentified artworks, and conservation imagery. -
Cultural Worlds of the Jesuits in Colonial Latin America Edited by Linda A
Cultural Worlds of the Jesuits in Colonial Latin America edited by Linda A. Newson INSTITUTE OF LATIN AMERICAN STUDIES Cultural Worlds of the Jesuits in Colonial Latin America edited by Linda A. Newson University of London Press Institute of Latin American Studies, School of Advanced Study, University of London, 2020 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license. More information regarding CC licenses is available at https:// creativecommons.org/licenses/. This book is also available online at http://humanities-digital-library.org. ISBN: 978-1-908857-62-0 (paperback edition) 978-1-908857-74-3 (.epub edition) 978-1-908857-73-6 (.mobi edition) 978-1-908857-75-0 (PDF edition) DOI: 10.14296/520.9781908857750 (PDF edition) Institute of Latin American Studies School of Advanced Study University of London Senate House London WC1E 7HU Telephone: 020 7862 8844 Email: [email protected] Web: http://ilas.sas.ac.uk Cover image: Mappa Geographica exhibens Provincias, Oppida, Sacella &c quae Mensibus Novembri ac Decembri anni 1751 et ... anni 1752 peragravit ad Indorum Chilensium terras... Hieronymus Strübel, 1777. Courtesy of John Carter Brown Library. Contents List of figures v Notes on contributors vii Introduction 1 Linda A. Newson I. Jesuit art, architecture and material culture 9 1. The Jesuits and Chinese style in the arts of colonial Brazil (1719–79) 11 Gauvin Alexander Bailey 2. Two ‘ways of proceeding’: damage limitation in the Mission to the Chiquitos 41 Kate Ford 3. -
The Artforum Index: Volume I, Number 1, Through Volume VII, Number 4 June 1962 Through December 1968
The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 1 The Artforum Index: Volume I, number 1, through volume VII, number 4 June 1962 through December 1968 The original edition of 1000 copies appeared 1 July 1970 as Artforum, 1962-1968: a cumulative index to the first six years, by Laurence McGilvery, La Jolla, California. This revised, free, on-line version is published 1 November 2009. CONTENTS INTRODUCTION ACKNOWLEDGMENTS NOTES to the first sixty-five issues INDEX A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z © by Laurence McGilvery 1970, 2002, 2009 All rights reserved for printed, electronic, digital, or any other media The Artforum Index 1962-1968. New version. © by Laurence McGilvery 1970, 2002, 2009 2 INTRODUCTION BACKGROUND. The first, expanded, on-line version of The Artforum Index was prepared during the spring of 2002 and appeared almost exactly thirty-two years after its initial publication as Artforum, 1962-1968: a cumulative index to the first six volumes. It includes volume VII, numbers 1-4, September-December 1968. Coverage of Artforum by Art Index began with volume VII, number 5, January 1969. This further-revised, digital version, prepared during the fall of 2009, also is free. Nearly all abbreviations have been spelled out, and the speed of today’s computers allows a much simpler, faster interface for the reader. For the first on-line version, the TextBridge Pro 9.0 character-recognition program was used to scan the original printing master. -
The Art of Romare Bearden: a Resource for Teachers
Cover 9.9.1 ss 11/6/03 5:52 PM Page 1 The Art of Romare Bearden ArtThe Romare of Division of Education National Gallery of Art, Washington The Art of Romare Bearden Mailing address: A Resource for Teachers 2000B South Club Drive Landover, MD 20785 A Resource for Teachers for Teachers A Resource of Art, Washington Gallery National Cover 9.9.1 ss 11/6/03 5:52 PM Page 2 The Art of Romare Bearden is organized by the National Gallery of Art, Washington. The exhibition is made possible with generous support from AT&T. The exhibition is sponsored in part by Chevy Chase Bank. The exhibition is presented at the following museums: National Gallery of Art, Washington, September 14, 2003 – January 4, 2004 San Francisco Museum of Modern Art, February 7 – May 16, 2004 Dallas Museum of Art, June 20 – September 12, 2004 Whitney Museum of American Art, New York, October 14, 2004 – January 9, 2005 High Museum of Art, Atlanta, January 29 – April 24, 2005 Written and produced by staff of the National Gallery of Art, Washington. Writers: Carla Brenner, Heidi Hinish, and Barbara Moore, division of education. Photography research, acquisition, and permissions: Ira Bartfield and Sara Sanders-Buell, publications department, and Leo Kasun and Lesley Keiner, division of education. Online production: Stephanie Burnett and Rachel Richards, division of education. Thanks for contributions supporting publication of this packet to: Lynn Russell, chair, division of education; Chris Vogel, production manager, publications department; Donna Mann, senior publications manager, education division; Phyllis Hecht, web manager; and staff of the exhibition programs and photography departments. -
Manuel De La Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 Manuel de la Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica Lauran Bonilla-Merchav Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/172 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA by LAURAN BONILLA-MERCHAV A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 LAURAN BONILLA-MERCHAV All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ____________________ ________________________________________ Date Professor Anna Indych-López Chair of Examining Committee ____________________ ________________________________________ Date Professor Claire Bishop Executive Officer ____________________________ Professor Romy Golan ____________________________ Professor Eloise Quiñones Keber ____________________________ Professor Edward Sullivan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT MANUEL DE LA CRUZ GONZÁLEZ: TRANSNATIONALISM AND THE DEVELOPMENT OF MODERN ART IN COSTA RICA Advisor: Professor Anna Indych-López While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama. -
Rembrandt's Etched Sketches and Seventeenth-Century
REMBRANDT’S ETCHED SKETCHES AND SEVENTEENTH-CENTURY PRINT CULTURE by AMY REED FREDERICK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May 2014 For Caroline and Lucy iii TABLE OF CONTENTS List of figures v Acknowledgements xii Abstract xvi Introduction 1 Chapter One: Historiography of the Etched Sketches 12 Chapter Two: Taxonomy of the Etched Sketches 47 Chapter Three: The Editions, Audiences and Degrees of Finish of the Etched Sketches 76 Chapter Four: Subjects of the Etched Sketches 99 Chapter Five: Rotation and Reception of the Etched Sketches 133 Conclusion 155 Appendix A: Formal Descriptions of the Etched Sketches 163 Appendix B: Images 176 Bibliography 270 iv LIST OF FIGURES Figure 1 Rembrandt, Sheet of Studies with Head of Rembrandt and Beggar Couple, c. 1631, etching, The British Museum, London, F,6.127 Figure 2 Rembrandt, Sheet of Studies of Men’s Heads, c. 1630, etching, The Albertina, Vienna Figure 3 Rembrandt, Three Studies of Old Men’s Heads, c. 1630, etching, The British Museum, London, 1848, 0911.193 Figure 4 Rembrandt, Studies of the Head of Saskia and Other Women, 1636, etching, The British Museum, London, F,6.129 Figure 5 Rembrandt, Three Heads of Women, One Lightly Etched, c. 1637, etching, The British Museum, London, F,6.130 Figure 6 Rembrandt, Three Heads of Women, One Asleep, 1637, etching, The British Museum, London, 1843,0607.228 Figure 7 Rembrandt, Sheet of Studies with a Woman Lying Ill in Bed, c. -
Florida State University Museum of Fine Arts
Cuban Art in the 20 Cuban Art in the th Century: Cultural Identity and the International Avant Garde International Avant Identity and the Century: Cultural CULTURAL IDENTITY AND THE INTERNATIONAL AVANT GARDE Florida State University Museum of Fine Arts of Fine Florida State UniversityMuseum Florida State University Museum of Fine Arts Florida State University College of Fine Arts 530 West Call Street Tallahassee FL 32306 www.MoFA.fsu.edu FLORIDA STATE UNIVERSITY MUSEUM OF FINE ARTS ISBN 978-1-889282-32-9 CULTURAL IDENTITY AND THE INTERNATIONAL AVANT GARDE CURATOR SEGUNDO J. FERNANDEZ ESSAYS BY JUAN A. MARTÍNEZ, PAUL NIELL & SEGUNDO J. FERNANDEZ FEBRUARY 12-MARCH 27, 2016 MUSEUM OF FINE ARTS COLLEGE OF FINE ARTS / FLORIDA STATE UNIVERSITY TABLE OF CONTENTS PROJECT SUPPORT & ORGANIZATION The exhibition Cuban Art in the Twentieth Century: Cultural Identity and the International Avant Garde was organized by the Florida State University Museum of Fine Arts in concert with Guest Curator Segundo J. Fernandez and Cernuda Arte of Coral Gables, Florida. Project Staff: Allys Palladino-Craig, Editor and Grant Writer; Jean D. Young, Registrar and Book Designer; Teri R. Abstein, Curator of Education; Wayne T. Vonada, Jr., Chief Preparator and Elizabeth McLendon, Archivist and Special Projects Coordinator. This program is sponsored in part by: the City of Tallahassee, Leon County and the Council on Culture & Arts; and Opening Nights. DESIGNER n [cover top row, left to right] R.C. Bears, Viandsas (Staples), 1879, oil on canvas, 14½ x 12 inches. Private Collection. Photo credit: Jon Nalon; Jean D. Young José A. Bencomo Mena, La Ceiba (The Ceiba Tree), 1949, oil on board, 15¾ x 12 inches.