DOCSLIB.ORG

Gardens and Gods

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gardens and Gods Gardens and gods 12 June – 16 September 2018 Grand Trianon “grand & tranquil sojourn where we spend days but also moments; fountains, gardens, peristyle, palace full of pleasures, wherein the royal hand for whom everything is easy in its noble relaxation, has plotted the ornaments; show us, show us your charming appeal. ” Le Palais de Flore, ballet danced at Trianon on [ ] January 1689, Paris, Ballard, 1689. First entrance Press contacts Hélène Dalifard, Aurélie Gevrey, Violaine Solari +33 (0) 1 30 83 75 21 [email protected] presse.chateauversailles.fr follow us at chateauversailles.fr Press release p.6 Foreword by Catherine Pégard p.8 Foreword by Laurent Salomé p.9 contents timelines p.11 The life of Jean Cotelle (1646 - 1708) p.13 The Grand Trianon during the reign of Louis XIV p.15 the exhibition p.17 1- Depicting the groves in the 17th century p.18 2- The “Cotelle Gallery” p.19 3- Italian inspiration p.21 4- Lost decor from the Château of Saint-Cloud p.22 5- Restoration of the paintings in the “Cotelle Gallery” p.22 6- Cotelle and the dissemination of models p.24 7- Religious subjects p.25 8- In the service of the King p.25 the exhibition in the gardens p.27 Exceptional flower planting p.28 in connection with the exhibition p.31 Exhibition catalogue p.32 Explore the subject further p.33 Versailles inspires p.34 exhibition patrons p.37 A unifying patronage campaign p.38 Exhibition partners p.41 Practical information p.45 Jean Cotelle, gouache on paper, before 1693. before paper, on Cotelle, gouache Jean 4 Arethusa, pursuing with Alpheus Mountain or Water Star the of View Fouin / Christophe de Versailles © Château Jean Cotelle Thanks to the rediscovery of numerous archival pieces, we restoration of the works of art 1646-1708 now have a better understanding of the artist’s life. The son of a decorator and ornamentalist, Jean Cotelle Most of the paintings in the “Cotelle Gallery” required Gardens and gods probably trained under the portraitist Claude Lefebvre. restoration in order to renew the fresh colours and After a long stay in Italy, he returned to the French Royal precision of the design. The operation was carried out Versailles, 11 June 2018, Academy of Painting and Sculpture as a miniaturist. He thanks to support from multiple patrons (the Friends of Press Release was tasked with illustrating the Campaigns of Louis XIV. Versailles Society, Fondation du Patrimoine and individual Having earned a certain reputation, he was solicited by patrons) as part of the “Adopt a painting in the Cotelle Jean Cotelle 1646 - 1708. Gardens and gods is the first exhibition dedicated to the 17th-century painter. This “Painter Monsieur, the king’s brother, around 1680 to decorate Gallery” campaign launched in 2013. to the King” was an excellent miniaturist and a talented decorator who practised almost all painting genres. The the jewellery cabinet (which has since been lost) at the exhibition will present his entire career through a hundred or so works, including 21 paintings in the Grand Trianon Château of Saint-Cloud. The artist was also one of those to gallery that have been recently restored through patronage. For the occasion, the gardeners of the Grand Trianon receive a commission for a May for Notre-Dame cathedral Exceptional flower planting will also be replanting the parterres to reflect the depictions by Jean Cotelle. in Paris, depicting The Marriage at Cana. In 1693, he left Paris for Marseilles where he became assistant director The flower gardens of the Grand Trianon will echo the of the Opera and decorated the ceiling of the City Hall. exhibition. From June to September, the Trianon garden From 1687, after the Versailles of Charles Le Brun Thanks to his talents as a decorator he contributed to department will be replanting the parterres to reflect one of which the Hall of Mirrors was the culminating preparing the temporary decorations for the entry of the of Jean Cotelle’s paintings, titled View of the Grand Trianon achievement, the decor in the Marble Trianon, a secluded Dukes of Burgundy and Anjou into Avignon. After his from the parterres, with Flora and Zephyr. Replanted in like leisure palace set away from the court, paved the way for a return to Paris in 1703, his career appears to have been design, the parterre will reflect the colour scheme used new generation of painters who focused on the search for more low-key, and he shifted towards the creation of in the painting, with a palette of pinks, blues and whites ornamentation and representation of nature. Jean Cotelle drawings for engravings and gouaches for fans. He died on against a bold green background that evokes Cotelle’s was one of the central figures of this generation and a 24 September 1708 in Villiers-sur-Marne. gardens. well-known artist. The exhibition explores the different aspects of his career and creates, for the first time, an initial corpus of his works, His skills were much appreciated at the time and he was shining the spotlight on an artist whose contributions have appointed to carry out most of the decoration in the been overlooked by history. main gallery in Trianon, comprising 21 paintings which were produced between 1688 and 1693. For this location, measuring almost 53 metres long with 16 large windows positioned at regular intervals and looking out onto the gardens, the artist opted for canvasses in portrait format. They depict every grove in the gardens of Versailles with characters from mythology and fables, organised into two registers (earthly and heavenly) and modelled on the bucolic landscapes of the Bolognese painter, Albani. A unique set of paintings that reveals Louis XIV’s fondness for his gardens, the series remains an important source of reference among depictions of French formal gardens and continues to improve our knowledge of the groves of Versailles. In echo to these works, fourteen gouache illustrations by Cotelle, miniatures of the gallery paintings, will also be on display. Lead sculptures from the decor of some of the groves no longer in existence in the garden Jean Cotelle, View from the parterres of the Marble Trianon with Zephyr and Flora asleep, 1688-1693, oil on canvas. of Versailles, such as the Maze Grove and the Grove of © Château de Versailles, Dist. RMN- Grand Palais / Thomas Garnier the Domes, will exceptionally feature in the exhibition. Nevertheless the gallery, which was a royal commission and without doubt the artist’s major achievement, must not overshadow other aspects of his career. curators Scenography Béatrice Sarrazin: Head Curator for Heritage at the Musée National des Design: Scénografia, Nicolas Groult and Valentina Dodi Châteaux de Versailles et de Trianon Graphic design: Graphica, Igor Devernay Lighting: Ponctuelle, Damien Joyeux Assisted by Clara Terreaux, Art Historian Parterres of the Grand Trianon © Château de Versailles / Thomas Garnier 6 7 foreword foreword by catherine pégard by laurent salomé President of the Établissement Public du Châ- Director of the Musée National des Châteaux teau, du Musée et du Domaine National de de Versailles et de Trianon Versailles Whether rediscovering little-known works or like a walk around the estate of Trianon. Big and small. Cotelle used both formats for his series individual artist contributes and, with Cotelle, suspended discovering an artist who is unknown to many people, of views of the Estate of Versailles, where the gods are time, the Italian sky, the precious colouring, the dramatic there is always something incredible about finding, This first exhibition devoted to Jean Cotelle, given over attending to their business and their love affairs. Which perspective, the voluptuousness of the gardens and the several centuries after the event, the explanation of a to the first overall restoration of the Trianon gallery of the two formats belongs to him most? References sensation of fresh air make us want to follow the gods’ commission or the fragments of a forgotten life. paintings since they were returned there a century ago in to the painter are full of ambiguity. Was he brilliant or heartaches and score settling. 1913, contributes to the desire to see this estate brought naive, revolutionary or archaic? He was the only painter Bringing Jean Cotelle’s works back to the gallery of the back to life to exist alongside Versailles in its own right, to have the idea of merging, as if the approach was quite Although the artist was sometimes described as puerile, Grand Trianon that bears his name involved a challenge: as Louis XIV and his successors wanted. natural, a freshly-drawn, precise depiction of modern it was perhaps because he confronts us with what some restoring his paintings, somewhat the worse for wear. Versailles with stories from mythology: reality and people – but Louis XIV was not one of them – hesitate The generosity of our patrons, particularly the Friends The exhibition, which brings together all kinds of arts, is eternity. The idea was so original that the two painters to allow to come to the surface: the vivacity of childhood of Versailles Society, along with the tenacity of Béatrice a testimony to the unrelenting work of all those involved who completed the decoration of the gallery in the new emotions. Sarrazin, Head Curator for Heritage at the Musée that allows us to share the magic. 2018 is an auspicious Palace of Trianon, Martin and Allegrain, did not try to The 17th century knew how to cultivate this most National des Châteaux de Versailles et de Trianon, year which, thanks to the skill of the gardeners, has copy it and simply populated their contributions with precious of all possessions as the finest flower in its revealed a set of works that, while retaining their transformed the parterres into a mirror image of Cotelle’s promenading courtiers.
Load more

Recommended publications
  • Greek and Roman Mythology and Heroic Legend
    G RE E K AN D ROMAN M YTH O LOGY AN D H E R O I C LE GEN D By E D I N P ROFES SOR H . ST U G Translated from th e German and edited b y A M D i . A D TT . L tt LI ONEL B RN E , , TRANSLATOR’S PREFACE S Y a l TUD of Greek religion needs no po ogy , and should This mus v n need no bush . all t feel who ha e looked upo the ns ns and n creatio of the art it i pired . But to purify stre gthen admiration by the higher light of knowledge is no work o f ea se . No truth is more vital than the seemi ng paradox whi c h - declares that Greek myths are not nature myths . The ape - is not further removed from the man than is the nature myth from the religious fancy of the Greeks as we meet them in s Greek is and hi tory . The myth the child of the devout lovely imagi nation o f the noble rac e that dwelt around the e e s n s s u s A ga an. Coar e fa ta ie of br ti h forefathers in their Northern homes softened beneath the southern sun into a pure and u and s godly bea ty, thus gave birth to the divine form of n Hellenic religio . M c an c u s m c an s Comparative ythology tea h uch . It hew how god s are born in the mind o f the savage and moulded c nn into his image .
    [Show full text]
  • Giuseppe Arcimboldo's Composite Portraits and The
    Giuseppe Arcimboldo’s Composite Portraits and the Alchemical Universe of the Early Modern Habsburg Court (1546-1612) By Rosalie Anne Nardelli A thesis submitted to the Graduate Program in Art History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada July, 2014 Copyright © Rosalie Anne Nardelli, 2014 Abstract At the Renaissance noble court, particularly in the principalities of the Holy Roman Empire, alchemical pursuits were wildly popular and encouraged. By the reign of Rudolf II in the late sixteenth century, Prague had become synonymous with the study of alchemy, as the emperor, renowned for his interest in natural magic, welcomed numerous influential alchemists from across Europe to his imperial residence and private laboratory. Given the prevalence of alchemical activities and the ubiquity of the occult at the Habsburg court, it seems plausible that the art growing out of this context would have been shaped by this unique intellectual climate. In 1562, Giuseppe Arcimboldo, a previously little-known designer of windows and frescoes from Milan, was summoned across the Alps by Ferdinand I to fulfil the role of court portraitist in Vienna. Over the span of a quarter-century, Arcimboldo continued to serve faithfully the Habsburg family, working in various capacities for Maximilian II and later for his successor, Rudolf II, in Prague. As Arcimboldo developed artistically at the Habsburg court, he gained tremendous recognition for his composite portraits, artworks for which he is most well- known today. Through a focused investigation of his Four Seasons, Four Elements, and Vertumnus, a portrait of Rudolf II under the guise of the god of seasons and transformation, an attempt will be made to reveal the alchemical undercurrents present in Arcimboldo’s work.
    [Show full text]
  • Metamorphoses: a Play by Mary Zimmerman
    University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 2002 Metamorphoses: A Play by Mary Zimmerman Joseph Farrell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classics Commons Recommended Citation Farrell, J. (2002). Metamorphoses: A Play by Mary Zimmerman. The American Journal of Philology, 123 (4), 623-627. http://dx.doi.org/10.1353/ajp.2003.0005 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/122 For more information, please contact [email protected]. Metamorphoses: A Play by Mary Zimmerman Abstract I cannot remember a time when scholarly interest in a particular classical author was equaled, and maybe exceeded, by a popular enthusiasm measured in weeks on the best-seller lists, boffo box office, andony T awards. But this seems now to have happened with Ovid. Latinists for some time have been taking Ovid much more seriously than they had done, making his poetry a vehicle for new directions in their work. Over roughly the same period, we have seen Ovidian novels by David Malouf, Christoph Ransmayr, and Jane Alison; fresh translations and ambitious reworkings by Ted Hughes and other poets; and now a remarkable new play by the extraordinary Mary Zimmerman (Circle in the Square, New York, N.Y., from 4 March 2002). Disciplines Arts and Humanities | Classics This journal article is available at ScholarlyCommons: https://repository.upenn.edu/classics_papers/122 METAMORPHOSES 623 BRIEF MENTION METAMORPHOSES: A PLAY BY MARY ZIMMERMAN JOSEPH FARRELL I CANNOT REMEMBER A TIME when scholarly interest in a particular classical author was equaled, and maybe exceeded, by a popular enthusi- asm measured in weeks on the best-seller lists, boffo box office, and Tony awards.
    [Show full text]
  • An Examination of Cavità 254 in Orvieto, Italy, and Its Primary Usage As an Etruscan Quarry
    An Examination of Cavità 254 in Orvieto, Italy, and its Primary Usage as an Etruscan Quarry Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Professor Ann Olga Koloski-Ostrow, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Kelsey Latsha May 2018 Copyright by Kelsey Latsha © 2018 ACKNOWLEDGEMENTS This Project is the culmination of years of work on the excavation of Cavità 254 under the direction of Professor David George and Claudio Bizzarri. I would like to thank Professor George for the opportunity to work on the site of Cavità 254 and for introducing me to the world of the Etruscans during my time at Saint Anselm College. I am forever grateful for Professor George’s mentorship that motivated me to pursue a graduate degree in Ancient Greek and Roman Studies at Brandeis University. I would also like to thank Doctor Paolo Binaco a fantastic teacher, friend, and archaeologist. Paolo has guided me in the right direction, while simultaneously sparking excitement in asking new questions about our unique site. Thank you, Paolo, for the unforgettable adventures to see Orvieto’s “pyramids” and for teaching me everything Etruscan. This thesis would not be possible without the immense support of the Department of Classical Studies at Brandeis. I especially would like to thank my Advisor Professor Ann Olga Koloski-Ostrow for her enthusiastic support of my project from its early beginnings and always pushing me to better my writing and research.
    [Show full text]
  • Early Rome: from Aeneas to Romulus
    Latin 411 Spring 2018, MW 4-5:15 pm, Phelps 310 Kyle Khellaf ([email protected]) Office Hours: MW 5:15-6:15 pm, and by appointment Early Rome: From Aeneas to Romulus How did the Romans imagine the founding of their city, nation, and eventual sprawling empire? These were events to which they attached the greatest significance. Yet they possessed very little reliable information about these early moments in their history. In fact, they had only a collection of legends with only a few material remains (e.g. the lapis niger) to support the veracity of these fables. The purpose of this course is to attempt to answer how the Romans imagined their early civic history, and how the mythologies they created for this proto-Rome provided them with a powerful ideological framework for their later imperial ambitions and “manifest destiny.” Each text we read will be examined from two points of view: the idea of early Rome generated within the text, as well as its relation to the underlying sociopolitical concerns of authors who lived and wrote these texts during the Late Republic and Augustan periods. Key themes will include founding myths of hybridity, intersectionality, migration, and exile; empire and imperial ideologies; nationalism; religious ritual; and the various Augustan reforms. We will read works in the original Latin by Virgil, Livy, Ovid, Propertius, Sallust, and Cicero— different literary genres, in both prose and verse. Since this is a second semester intermediate Latin course, we will also dwell on matters like vocabulary and syntax, meter and style, and touch upon the rudiments of Roman literary history.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 30 May 2008 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Green, M. (2005) 'The virgin in the garden : Milton's Ovidian Eve.', Modern language review., 100 (4). pp. 903-922. Further information on publisher's website: http://www.ingentaconnect.com/content/mhra/mlr/2005/00000100/00000004/art00002 Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk OCTOBER ff. 100 P 4 THE VIRGIN IN THE GARDEN: MILTON’S OVIDIAN EVE Milton’s early partiality for Ovid once noted, it has been customary to assume that his formal apprenticeship to the Latin poet concluded with Elegia se- ptima, the last poem in his small collection of Latin elegies. Elizabeth Sauer has referred to this gesture of formal leave-taking as the point at which Milton ‘publicly divorced himself’ from Ovid, after which, it has often been argued, he left the service of his first master to follow the more congenial example of Vergil the epic poet.
    [Show full text]
  • The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
    The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch 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 www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton.
    [Show full text]
  • Bulfinch's Mythology
    Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34
    [Show full text]
  • Bronzi Romani Inediti Del Museo Delle Terme
    MEMORIE DELLA R. ACCADEMIA NAZIONALE DEI LINCEI CLASSE DI SCIENZE MORALI STORICHE E FILOLOGICHE (ANNO CCCXXIV) SERIE VI. — VOLUME II. — FASCICOLO II. « LUCIA MORPURGO BRONZI ROMANI INEDITI DEL MUSEO DELLE TERME \ ROMA DOTT. GIOVANNI BARDI TIPOGRAFO DELLA R. ACCADEMIA NAZIONALE DEI LINCEI 1927 RELAZIONE letta dal Socio L. PERNIER, anche a nome del Socio R. PARIBENI, nella seduta del 21 giugno 1925, sulla memoria della sig.na L. Morpurgo, avente per titolo: Bronci romani inediti del Museo delle Terme. Nello scritto presentato per la pubblicazione nelle Memorie della nostra Acca- demia la signorina dottoressa Morpurgo illustra due piccoli bronzi delle collezioni del Museo Nazionale Romano. È il primo un'ascia martello in bronzo disgraziata- mente non intatta, decorata con ornamenti geometrici e con figure a rilievo di Vittoria e di Attis. La materia prescelta e le ornamentazioni rivelano che non si tratta di un ordinario strumento da lavoro. Con saggio ragionamento corredato di buona dottrina l'autrice pensa, che il martello possa aver servito alla cerimonia della clavifixio, che esso abbia relazione col culto della Dea etnisca Nortia, venerata in special modo a Bolsena, alla quale rinnovata, e confusa con l'asiatica Cibele nella grande invasione di culti orientali, accennerebbe la figura di Attis. L' altro oggetto illustrato è una statuina di bronzo nella quale 1' autrice propone di riconoscere un centurione romano con le sue caratteristiche di armamento e di costume. Data l'importanza degli oggetti illustrati, e la attendibilità dei risultati raggiunti, ci sembra lo scritto della signorina dott. Morpurgo degno di essere accolto nelle Memorie della nostra Accademia.
    [Show full text]
  • Metamorphoses: `The Transformation and Transmutation of the Arcadian Dream'
    Durham E-Theses Pastoral elements and imagery in Ovid's metamorphoses: `the transformation and transmutation of the Arcadian dream' Dibble, Alison Jane How to cite: Dibble, Alison Jane (2002) Pastoral elements and imagery in Ovid's metamorphoses: `the transformation and transmutation of the Arcadian dream', Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3836/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 UNIVERSITY OF DURHAM DEPARTMENT OF CLASSICS AND ANCIENT HISTORY 2002 M.A. by Research PASTORAL ELEMENTS AND IMAGERY IN OVID'S METAMORPHOSES: 'THE TRANSFORMATION AND TRANSMUTATION OF THE ARCADIAN DREAM' ALISON JANE DIBBLE PASTORALELEMENTSANDIMAGERYIN OVID'S METAMORPHOSES: 'THE TRANSFORMATION AND TRANSMUTATION OF THE ARCADIAN DREAM.' ALISON J. DIBBLE 'They, looking back, all the eastern side beheld Of Paradise, so late their happy seat, Waved over by that flaming brand, the gate With dreadful faces thronged and fiery arms: Some natural tears they dropped, but wiped them soon; The world was all before them, where to choose Their place of rest, and Providence their guide; They, hand in hand, with wandering steps and slow, Through Eden took their solitary way.
    [Show full text]
  • Performance and Visual Culture in Etruria: 7Th 2Nd Century BC
    Performance and Visual Culture in Etruria: 7th - 2nd Century BC Stephanie Anne Layton Marietta, Georgia Bachelor of Arts, The George Washington University, 2003 Master of Arts, Florida State University, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia December 2013 © Copyright by Stephanie Anne Layton All rights Reserved December 2013 Abstract The Etruscan iconographic record is the primary source of information regarding performance activities, which include dance, music, gaming, ritual, spectacle, and athletics. In this study, performance theory is used as a framework for analyzing Etruscan material culture related to emically constructed and provisionally identified performance activities and ascertaining their meaning. Although evidence for Etruscan cultural activity, beliefs, and social interaction is limited, especially given the paucity of textual information, the application of performance theory to the archaeological record provides a means to analyze public and private transmission of messages, relationships, experiences, and cultural behaviors primarily in funerary and civic contexts. Although numerous Etruscan performances have been investigated individually by prior scholarship, performance theory has not been previously applied to Etruscan art and architecture and, therefore, this work takes a new approach towards the analysis of the archaeological record. Evidence included in this study dates between the 8th -2nd centuries BC and consists of wall painting, painted and relief vase decoration, stone and terracotta relief sculpture, engraved gems, and bronze mirrors, decorative attachments, figurines, and vessels. It is only through the study of such varied materials from a wide chronological range that a more complete understanding of Etruscan performance emerges.
    [Show full text]
  • Mythologies of the World: a Guide to Sources
    DOCUMENT RESUME ED 198 541 CS 206 121 AUTHOR Smith, Ron TITLE Mythologies of the World: A Guide toSources. INSTITUTICN National Council of Teachers of English, Urbana, Ill. TEPORT NO ISBN-0-8141-3222-7 PUB DATE 81 NOTE 358p. AVAILABLE FRCM National Council of Teachers of English, 1111Kenyon Rd., Urbana, IL 61801 (Stock No. 32227, $9.75 non-member, $8.50 member). EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS *Cultural Awareness: *Cultural Background: Cultural Interrelationships: *Folk Culture: Higher Education: *Mythology: Popular Culture: Resource Materials: Secondary Education: *Symbols (Literary) : *World Literature ABSTRACT This book surveys the important available bockson mythologies cf all parts of the globe and thecultural contexts from which the mythological traditions emerged.Written as a series of bibliographic essays, the guide opens witha description of major reference sources encompassing many cultures,as well as those tracing particular themes (such as that of thecreation) across cultures. The other bibliographicessays discuss sources for studying prehistoric mythologies, the mythologies of West Asianpeoples (Mesopotamian, Biblical, Islamic, and others),South and East Asian mythologies, European mythologies, American Indianmythologies (North, Central, and South American), African mythologies, and the mythologies cf the Pacific and Australia.An appendix on contemporary mythology--mainly American--discussesa wide range of works that examine the beliefs, traditions, and dreams thatmanifest themselves in spectator .sports, politics,
    [Show full text]