The Cosmic Parthenogenesis
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The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Pellucid Paper by Adam Wickberg
PELLUCID PAPER BY ADAM WICKBERG Pellucid Paper Bureaucratic Media And Poetry In Early Modern Spain Technographies Series Editors: Steven Connor, David Trotter and James Purdon How was it that technology and writing came to inform each other so exten- sively that today there is only information? Technographies seeks to answer that question by putting the emphasis on writing as an answer to the large question of ‘through what?’. Writing about technographies in history, our con- tributors will themselves write technographically. Pellucid Paper Bureaucratic Media And Poetry In Early Modern Spain Adam Wickberg OPEN HUMANITIES PRESS London 2018 First edition published by Open Humanities Press 2018 Copyright © 2018 Adam Wickberg This is an open access book, licensed under Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the authors and source are cited and resulting derivative works are licensed under the same or simi- lar license. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above. Read more about the license at creativecommons.org/licenses/by-sa/4.0 Freely available at: http://www.openhumanitiespress.org/books/titles/pellucid-paper/ Cover Art, figures, and other media included with this book may be under different copyright restrictions. Cover Illustration © 2018 Navine G. Khan-Dossos Print ISBN 978-1-78542-054-2 PDF ISBN 978-1-78542-055-9 OPEN HUMANITIES PRESS Open Humanities Press is an international, scholar-led open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide. -
Bartolomeo Maranta's 'Discourse' on Titian's Annunciation in Naples: Introduction1
Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction1 Luba Freedman Figure 1 Titian, The Annunciation, c. 1562. Oil on canvas, 280 x 193.5 cm. Naples: Museo Nazionale di Capodimonte (on temporary loan). Scala/Ministero per i Beni e le Attività culturali/Art Resource. Overview The ‘Discourse’ on Titian’s Annunciation is the first known text of considerable length whose subject is a painting by a then-living artist.2 The only manuscript of 1 The author must acknowledge with gratitude the several scholars who contributed to this project: Barbara De Marco, Christiane J. Hessler, Peter Humfrey, Francesco S. Minervini, Angela M. Nuovo, Pietro D. Omodeo, Ulrich Pfisterer, Gavriel Shapiro, Graziella Travaglini, Raymond B. Waddington, Kathleen M. Ward and Richard Woodfield. 2 Angelo Borzelli, Bartolommeo Maranta. Difensore del Tiziano, Naples: Gennaro, 1902; Giuseppe Solimene, Un umanista venosino (Bartolomeo Maranta) giudica Tiziano, Naples: Società aspetti letterari, 1952; and Paola Barocchi, ed., Scritti d’arte del Cinquecento, Milan- Naples: Einaudi, 1971, 3 vols, 1:863-900. For the translation click here. Journal of Art Historiography Number 13 December 2015 Luba Freedman Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction this text is held in the Biblioteca Nazionale of Naples. The translated title is: ‘A Discourse of Bartolomeo Maranta to the most ill. Sig. Ferrante Carrafa, Marquis of Santo Lucido, on the subject of painting. In which the picture, made by Titian for the chapel of Sig. Cosmo Pinelli, is defended against some opposing comments made by some persons’.3 Maranta wrote the discourse to argue against groundless opinions about Titian’s Annunciation he overheard in the Pinelli chapel. -
Exhibition Museum Der Bildenden Künste Leipzig April 18
Exhibition Museum der bildenden Künste Leipzig April 18 – August 15, 2010 Neo Rauch Paintings Foreword travelers yet to be identified, or supporters, but they could an evolution in the artist’s work that was formulated with Rauch supported the exhibition and publication with great also be less identifiable feelings, positive or negative, guard- great mastery. We are sincerely grateful to all of them. Such sensitivity from the outset. His personal contribution of ian angels, or recurring nightmares of a life-path that, in the an exhibition project could not be realized without the publishing two lithographs especially for the exhibition Born in Leipzig in 1960, Neo Rauch is undoubtedly the meantime, has covered fifty years. help of third parties. In this case, we have to thank, above venues deserves our utmost appreciation. We are therefore most internationally significant and most discussed German A total of 120 paintings are on view in Leipzig and Munich. all, the Sparkassen-Finanzgruppe: for the support of the extremely grateful to the artist and his wife Rosa Loy. painter of his generation. His paintings are like a theatrum Selected in close cooperation with Neo Rauch, the works exhibition in Leipzig, we are grateful to the Ostdeutsche mundi, overlapping scenes that gradually lend a sur real are taken from a period that began around twenty years Sparkassenstiftung together with the Sparkasse Leipzig; for aura to their formal verism and their narrative. Following ago. Many of the paintings, some of which are large-format the sponsorship of the exhibition in Munich, we are in- Hans-Werner Schmidt the political changes of 1989 and the ensuing great socio- works, have never been shown before in Germany. -
The Spanish Style and the Art of Devotion
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Dissertations and Theses 2009 Velázquez: The pS anish Style and the Art of Devotion Lawrence L. Saporta Bryn Mawr College, [email protected] Follow this and additional works at: https://repository.brynmawr.edu/dissertations Custom Citation Saporta, Lawrence L. "Velázquez: The pS anish Style and the Art of Devotion." Ph.D. diss., Bryn Mawr College, 2009. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/dissertations/7 For more information, please contact [email protected]. Velázquez: The Spanish Style and the Art of Devotion. A Dissertation submitted for the Degree of Ph.D. Department of the History of Art Bryn Mawr College Submitted by Lawrence L. Saporta Advisor: Professor Gridley McKim-Smith © Copyright by Lawrence L. Saporta, 2009 All Rights Reserved Dissertation on Diego Velázquez Saporta Contents. Abstract Acknowledgements i Image Resources iii Introduction 1 Chapter 1 Jesuit Art Patronage and Devotional Practice 13 Chapter 2. Devotion, Meditation, and the Apparent Awkwardness of Velázquez’ Supper at Emmaus 31 Chapter 3. Velázquez’ Library: “an indefinite and perhaps infinite number of hexagonal galleries” 86 Chapter 4 Technique, Style, and the Nature of the Image 127 Chapter 5 The Formalist Chapter 172 Chapter 6 Velázquez, Titian, and the pittoresco of Boschini 226 Synthesis 258 Conclusion 267 Works Cited 271 Velázquez: The Spanish Style and the Art of Devotion. Lawrence L. Saporta, Ph.D. Bryn Mawr College, 2009 Supervisor: Gridley McKim-Smith This dissertation offers an account of counter-reformation mystical texts and praxis with art historical applicability to Spanish painting of the Seventeenth Century— particularly the work of Diego Velázquez. -
Plano Museo Del Prado Ing.Pdf
Spanish Painting 1100 – 1910 JERÓNIMOS BUILDING Information Spanish Painting 1550 – 1810 JERÓNIMOS BUILDING Information Flemish Painting 1600 – 1700 JERÓNIMOS BUILDING Lift German Painting 1450 – 1550 TEMPORARY EXHIBITIONS (A–B) Cloakroom German Painting 1750 – 1800 TEMPORARY EXHIBITIONS (C–D) Cloakroom Dutch Painting 1600 – 1695 SCULPTURE Escalator Sculpture Lectures Room Audio Guide French Painting 1600 – 1800 Audio Guide Spanish Painting 1700 – 1800 LEONI (CLOISTER) Stairs Flemish Painting 1430 – 1570 Auditorium Auditorium Flemish Painting 1600 – 1700 VILLANUEVA BUILDING Lift German Painting 1750 – 1800 Toilets Prado Cafe PAINTINGS 1550 – 1810 Italian Painting 1300 – 1600 Lectures Room Italian Painting 1450 – 1800 Escalator Decorative Arts VILLANUEVA BUILDING Adapted Toilets Prado Shop Temporary Exhibitions Education Sculpture GRECO (8B–10B) Stairs Sculpture PAINTINGS 1700 – 1800 Lift TIZIANO (24–27, 41–44) Toilets AND DECORATIVE ARTS VILLANUEVA BUILDING Temporary Exhibitions TINTORETTO (25, 41, 44) Escalator Adapted Toilets RUBENS (78-79, 83) TEMPORARY EXHIBITIONS CARAVAGGIO (6) REMBRANDT (76) PAINTINGS 1100 – 1910 Stairs POUSSIN (2-4) First Aid JAN BRUEGHEL (83) AND SCULPTURE Toilets LORENA (2) Shop GOYA (85-87, 90-92, 94) Adapted Toilets VOUET (2-3) ROMANESQUE CHAPELS (51C) MENGS (89) RUBENS (28–29) BERRUGUETE (57B) Breastfeeding room TREASURE OF THE DAUPHIN (79B) VAN DER WEYDEN (58) Rest Area VELÁZQUEZ (9A, 10–15, 15A) MAINO (7A, 9A, 8B, 9B) BOSCH (56A) Prado Cafe RIBERA (1, 7-9) DÜRER (55B) Restaurant RAPHAEL (49) MURILLO (16–17) -
A Text-Book of the History of Painting
COLLEGE H ISTORIES OF ART EDITEDY B .JOHN C VAN DYKE, L.H.D. HISTORYF O PAINTING JOHN. C VAN DYKE COLLEGE H ISTORIES OF ART EDITEDY B JOHN. C VAN DYKE, L.H.D. PROFESSOR O F THE HISTORY OF ART IN RUTGERS COLLEGE FHISTORY O PAINTING By J OHN C. VAN DYKE, the Editor of the Series. With Frontispiece and 152 Illustrations, Bibliographies, and Index. Crown 8vo, net, $2.00. FHISTORY O ARCHITECTURE By ALFRED D. F. HAMLIN, A.M., Professor of the His tory of Architecture, Columbia University, New York. With Frontispiece and 235 Illustrations and Diagrams, Bibliographies, Glossary, Index of Architects, and a General Index. Crown 8vo, net, $2.00. HISTORYF O SCULPTURE By A LLAN MARQUAND, Ph.D., L.H.D., Professor of Art . and Archaeology in Princeton University, and ARTHUR L. Frothinghara, Jr., Ph.D. With Frontispiece and 113 Illustrations. Crown 8vo, net, Si. 60. TITIAN.A L BELLA. PITTI, FLORENCE. }' A T EXT-BOOK OF THE HISTORYF O PAINTING BY JOHN. C VAN DYKE, L.H.D. PROFESSOR O F THE HISTORY OF ART IN RUTGERS COLLEGE,ND A AUTHOR OF "ART FOR ART*S SAKE," "T#E M EANING OF PICTURES," "NEW GUIDES TO OLD M ASTERS," ETC. NEW E DITION NEW I MPRESSION LONGMANS, G REEN, AND CO. FOURTH A VENUE AND 30TH STREET, NEW YORK LONDON, BOMBAY, CALCUTTA AND MADRAS COPYRIGHT, 1 894, BY LONGMANS, GREEN, AND CO. COPYRIGHT, I 9IS, BY LONGMANS, GREEN, AND CO. ALL R IGHTS RESERVED First E dition, October, 1894. Reprinted, M arch, 1895. and November, 1896. -
The Arithmetization of Writing in Salvador Elizondo's “Grünewalda, O
Vargas, Ómar. 2021. Fabling about Infinity: The Arithmetization of Writing in Salvador Elizondo’s “Grünewalda, o una fábula del infinito”. Latin American Research Review 56(2), pp. 472–483. DOI: https://doi.org/10.25222/larr.470 LITERATURE AND CULTURAL STUDIES Fabling about Infinity: The Arithmetization of Writing in Salvador Elizondo’s “Grünewalda, o una fábula del infinito” Ómar Vargas University of Miami, US [email protected] This article is a close reading of Salvador Elizondo’s “Grünewalda, o una fábula del infinito” (1969), a short story from the collection El retrato de Zoe y otras mentiras. Elizondo purposely mirrors in “Grünewalda” a turbulent chapter in the history of mathematics—the turn of the nineteenth century—when this discipline went through a profound crisis. The article shows how Elizondo skillfully crafts a literary version of a process of arithmetization of writing, as taken from the basics of set theory, and how this process helps to discern the level-changing operators in “Grünewalda” and in all of Elizondo’s texts. Given that mathematical knowledge is merely verbal knowledge, Grünewalda’s life and death problems are syntactic and semantic in principle. Thus, beyond ascribing his rhetoric to a metaphysical sphere, a metamathematical realm is presented as a more adequate depiction of Elizondo’s writing. El siguiente es un estudio detallado de “Grünewalda, o una fábula del infinito,” un texto de Salvador Elizondo incluido en la colección El retrato de Zoe y otras mentiras, originalmente publicado en 1969. Elizondo deliberadamente refleja en “Grünewalda” un capítulo turbulento en la historia de las matemáticas —finales del siglo XIX—, cuando esta disciplina atravesó una profunda crisis. -
Botticelli Past and Present Ever, the Significant and Continued Debate About the Artist
The recent exhibitions dedicated to Botticelli around the world show, more than and Present Botticelli Past ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies. Ana Debenedetti is an art historian specialising in Florentine art, artistic literature and workshop practice in the Renaissance. She is Curator of Paintings at the Victoria and Albert Museum, responsible for the collections of paintings, drawings, watercolours and miniatures. She has written and published on Renaissance art and Botticelli philosophy. Caroline Elam is a Senior Research Fellow at the Warburg Institute, University of London. She specialises in architecture, art and patronage in the Italian Renaissance and in the reception of early Italian art in the late nineteenth and twentieth century. Past She has held academic positions at the University of Glasgow, King’s College, Cambridge and Westfield College, University of London. -
A Humane Equilibrium
1 Excerpted from Norbert Wolf, Velazquez. Koln: Taschen, 1999, 47-59, 94-95. A Humane Equilibrium In the Salon de Reinos, the throne-room of Buen Retiro where courtly ceremony was displayed to the full, symbolically representing the monarchy to the outside world, a series of ten pictures by Zurbaran on the theme of Hercules hung beside the equestrian portraits of members of the Spanish ruling house of Habsburg. There were also twelve battle scenes showing the latest victories won under Philip IV: All the military paintings follow the same standard pattern: they banish war itself to the background and show the victorious commanders full-length in the foreground, where the figures of rulers are usually placed in other works. The battle pieces may well have been painted by Velazquez' artistic colleagues Eugenio Caxes (1573/74-1634) and Vicente Carducho, or by Zurbaran. They are not particularly original, unlike die paintings by Fray Juan Bautista Maino and (as one might expect) by Velazquez himself. Maino's painting was taken from the subject of a play by Lope de Vega celebrating the recapture of Bahia in Brazil by the Portuguese and Castilians after its occupation by the Dutch. However, the main theme of the picture is not so much the battle as the noble magnanimity of the victors and their care for the wounded. Spanish Soldier, detail from The Surrender of Breda, 1634/35 In The Surrender of Breda, painted in 1634 to 1635 (page 2), Velazquez too makes a fundamental statement about humane conduct amidst the horrors of war. Many contemporary witnesses felt sure that the long struggle for the Netherlands would determine the future position of Spain as a world power. -
Case Western Reserve University
CARVING FOR A FUTURE: BACCIO BANDINELLI SECURING MEDICI PATRONAGE THROUGH HIS MUTUALLY FULFILLING AND PROPAGANDISTIC “HERCULES AND CACUS” by MICHAEL DAVID MORFORD Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY May 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________ candidate for the ________________________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS Page LIST OF FIGURES ………………………………………………………………………i PREFACE……………………………………………………………………………...….v ACKNOWLEDGEMENTS……………………………………………………………....ix ABSTRACT.………………………………………………………………...…………..xii CHAPTER I. THE HISTORY OF THE COMMISSION FOR THE HERCULES AND CACUS…………………………………1 CHAPTER II. COMBATING HISTORY: CRITIQUING THE CRITICAL ANALYSES OF THE PROJECT AND RE-EVALUATING THE SCULPTURE…………………......…21 CHAPTER III. CHANGING THE MOMENT: THE PROGRESSION OF THE DESIGN…………………………………..…...............80 CHAPTER -
Enter in Classical Art for a Classical School
Enter In Classical Art for a Classical School DRAFT - work in progress updated 6/7/21 CORAM DEO ACADEMY INTRODUCTION Flower Mound Campus pur- poses to attract students to the truth, goodness, and beauty of all things given to us by our Creator. We get lost in beautiful literature, wonder while playing beautiful mu- sic, bring health to our bodies through practice, and desire to present beautiful works of art to students, families, and visitors. In doing so, we hope to train our aesthetic senses by fully engaging, not just the academic mind, but the whole person created by God, to lift the eyes as they walk down our halls, readying the minds for all who gaze on the artwork for learning. Our hope is in Christ Jesus, the ultimate source of beauty. Page 2 Table of Contents Grammar School page 4 Aesop’s Fables Building 200 page 24 Masters Building 400 page 34 Modern Builing 300 page 50 Page 3 GRAMMAR SCHOOL Aesop’s Fables Teaching with fables is an ancient tradition found in every culture. Fables are — and were meant to be — for everyone. Young and old alike can read a fable and learn something about Truth, goodness, and beauty. After the Bible, fables are among the most reproduced pieces of literature. Fables tend to have deep wisdom, humor, and insight into the workings of the human heart. When set against the light of scripture, each becomes brighter for the comparison. Aesop is the name of the man credited with writing a collection of fables known as Aesop’s Fables.