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The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Exceptional Works of Art 2017 PUSHKIN ANTIQUES – MAYFAIR –
Exceptional works of art 2017 PUSHKIN ANTIQUES – MAYFAIR – At Pushkin Antiques we specialise in unique statement Each item is professionally selected and inspected pieces of antique silver as well as branded luxury items, to ensure we can give our customers a guarantee of stylish interior articles and objects d’art. authenticity and the required peace of mind when buying from us. Since the inception of our company, we’ve been at the forefront of online sales for high end, quality antiques. Our retail gallery is located on the lower floor of the world Our presence on most major platforms has allowed us famous Grays Antiques Centre in the heart of Mayfair. to consistently connect exquisite pieces with the most discerning collectors and interior decorators from all over the world with particular focus on the demands of the markets from the Far East, the Americas, Europe & Russia. www.pushkinantiques.com [email protected] We aim to provide the highest quality in every department: rare hand crafted articles, accurate item descriptions (+44) 02085 544 300 to include the history and provenance of each item, an (+44) 07595 595 079 extensive photography report, as well as a smooth buying process thus facilitating an efficient and pleasant online Shop 111, Lower Ground Floor, Grays Antiques Market. experience. 58 Davies St, London. W1K 5AB, UK. ALEX PUSHKIN OLGA PUSHKINA DUMITRU TIRA Founder & Director Managing Director Photographer Contents 6 ENGLISH SILVER 42 CHINESE SILVER 56 JAPANESE SILVER 66 INDIAN SILVER 78 BURMESE SILVER 86 CONTINENTAL SILVER 100 FRENCH SILVER 108 GERMAN SILVER 118 RUSSIAN SILVER 132 OBJECTS OF VERTU English Silver The style and technique in manufacturing silver during Hester Bateman (1708-1794) was one of the greatest this era (over 100 years) changed radically, reflecting silversmiths operating in this style, she is the most the variations in taste, society, costumes, economic and renowned and appreciated female silversmith of all time. -
Refrain, Again: the Return of the Villanelle
Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form. -
Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context. -
Boulle Revisited, 1775-1850 Lilit Sadoyan
UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) AMÉNAGEMENT INTÉRIEUR ET COHABITATION DES STYLES AUX ÉPOQUES MODERNE ET CONTEMPORAINE Actes de la journée d’étude édités sous la direction scientifique de Claire Hendren, Barbara Jouves et Hadrien Viraben TRANSFORMED AND REINTERPRETED: BOULLE REVISITED, 1775-1850 LILIT SADOYAN Pour citer cet article Lilit Sadoyan, « Transformed and Reinterpreted: Boulle Revisited, 1775-1850 », dans Claire Hendren, Barbara Jouves et Hadrien Viraben (dir.), Aménagement intérieur et cohabitation des styles aux époques moderne et contemporaine, actes de la journée tenue à Paris le 19 mars 2018 à l’Institut national d’histoire de l’art, Paris, site de l’HiCSA, mis en ligne en novembre 2018, p. 10-27. TRANSFORMED AND REINTERPRETED: BOULLE REVISITED, 1775-1850 LILIT SADOYAN PhD (ABD) in Art History, University of California, Santa Barbara – The J. Paul Getty Museum, Los Angeles During the second half of the eighteenth and the first half of the nineteenth century, marquetry furniture created by André-Charles Boulle (1642-1732), premier ébéniste du Roi under Louis XIV, was incorporated, reused, and imitated with increasing popularity. Why repeat century-old designs in a period otherwise characterized by a remarkable multiplicity of design innovations? By replicating forms, furniture makers intended for their clientele and contemporaries to read these objects in relation to the work of their predecessor, Boulle. Throughout the eighteenth and nineteenth -
Journey Through Mathematics: Creative Episodes in Its History, 1 DOI 10.1007/978-0-387-92154-9 1, © Springer Science+Business Media, LLC 2011 2 Trigonometry Chapter 1
Journey through Mathematics Enrique A. González-elasco Journey through Mathematics Creative Episodes in Its History Enrique A. González-Velasco Department of Mathematical Sciences University of Massachusetts at Lowell Lowell, MA 01854 USA [email protected] ISBN 978-0-387-92153-2 e-ISBN 978-0-387-92154-9 DOI 10.1007/978-0-387-92154-9 Springer New York Dordrecht Heidelberg London Library of Congress Control Number: 2011934482 Mathematics Subject Classification (2010): 01-01, 01A05 © Springer Science+Business Media, LLC 2011 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Cover Image: Drawing in the first printed proof of the fundamental theorem of calculus, published by Heir of Paolo Frambotti, Padua in 1668, by James Gregory in GEOMETRIÆ PARS VNIVERSALIS (The Universal Part of Geometry). Printed on acid-free paper Springer is part of Springer Science+Business Media (www.springer.com) To my wife, Donna, who solved quite a number of riddles for me. -
16 CHAPTER TWO a Field Guide to American Houses by Virginia And
CHAPTER TWO A Field Guide to American Houses by Virginia and Lee McAlster was the primary guideline followed for architectural purposes during the field work phase of this thesis.1 Although many excellent sources exist, this book is the most commonly used field guide for identification of style. Therefore, the McAlsters’ terminology and dates are the basis for both the narrative and the website. In American Architecture, architectural historian Leland M. Roth states that “Ethos, culture, technology, and climate together helped to shape the first shelters and ceremonial enclosure made by the first humans to venture into the New World.” This is no less true even after the first shelters were built. In fact, those are the essential components to any type of architectural structure or resource.2 Too often people are unaware of their surroundings and miss the link between history and the historical resources that helped mold that history. Mark Gelernter said it well in A History of American Architecture, “Although we all use buildings and towns every day, seldom do we consciously think about where they came from, or why they possess a particular shape or style. Buildings are so integral to our daily existence that they often retreat invisibly into the background as we concentrate on our more immediate concerns. But in many significant ways, buildings and towns help 1 Virginia McAlester and Lee McAlester, A Field Guide to American Houses (New York: Alfred A. Knopf, 2005) 2 Leland Roth, American Architecture (New York: Westview Press, 2001), 13. 16 shape our lives.”3 Although this project focuses mainly on designed historical resources from 1845 to 1970, it emphasizes the need for additional research in other dimensions of Harrison County history by identifying popular vernacular architecture types and how these historical resources continue to stand in the twenty-first century. -
The 18Th-Century Battle Over Lunar Motion
The 18th-century battle over lunar motion Siegfried Bodenmann In a dispute with more than just scientific import, Alexis Clairaut, Leonhard Euler, and Jean le Rond d’Alembert each employed their own strategies to establish that they were the first to understand a puzzling feature of the Moon’s orbit. Siegfried Bodenmann ([email protected]) is a coeditor of Leonhard Euler’s French correspondence for the Euler Commis- sion of the Swiss Academy of Sciences in Basel, Switzerland. About two years after Sputnik 1 began emitting radio sig- the direction of Pierre Louis Moreau de Maupertuis. Despite nals, the Soviet Union’s Luna 2 became the first manmade ob- the plague of flies, the cold winter, and all the dangers of the ject to reach the Moon. The intentional crash landing of the undertaking—including the perilous transport of astronom- spacecraft on 13 September 1959 once again demonstrated ical instruments through rapids and dense woods—Clairaut Soviet technological superiority over the US. That event can helped prove that Earth is flattened at the poles by measuring be regarded as the trigger of the so-called race to the Moon, a degree of the meridian. As historian Mary Terrall explores initiated by President John F. Kennedy in May 1961. As the in her imposing book The Man Who Flattened the Earth: Mau- much-broadcast commemoration of Apollo 11 and the first pertuis and the Sciences in the Enlightenment (University of manned landing on the Moon reminded us, the Americans Chicago Press, 2002), Clairaut and Maupertuis thus showed won the competition. -
THE GRAVEYARD of Utopia: SOVIET Urbanism and the FATE of the INTERNATIONAL AVANT-GARDE
THE GRAVEYARD OF utopia: SOVIET uRBANISM AND THE FATE OF THE INTERNATIONAL AVANT-GARDE Comrades! The twin fires of war and revolution have devastated both our souls and our cities. The palaces of yesterday’s grandeur stand as burnt-out skeletons. The ruined cities await new builders[…] To you who accept the legacy of Russia, to you who will (I believe!) tomorrow become masters of the whole world, I address the question: with what fantastic structures will you cover the fires of yesterday? — Vladimir Maiakovskii, “An Open Letter to the Workers”1 Utopia transforms itself into actuality. The fairy tale becomes a reality. The contours of socialism will become overgrown with iron flesh, filled with electric blood, and begin to dwell full of life. The speed of socialist building outstrips the most audacious daring. In this lies the distinctive character and essence of the epoch. — I. Chernia, “The Cities of Socialism”2 Between 1928 and 1937, the world witnessed the convergence of some of the premier representatives of European architectural modernism in Moscow, Leningrad, and other cities throughout the Soviet Union. Never before had there been such a concentration of visionary architectural talent in one place, devoting its energy to a single cause. Both at home and abroad, the most brilliant avant-garde minds of a generation gathered in Russia to put forth their proposals for the construction of a radically new society. Never before had the stakes seemed so high. For it was out of the blueprints for this new society that a potentially international architecture and urbanism could finally be born, the likes of which might then alter the face of the entire globe. -
PDF (Final Accepted Dissertation for MA by Thesis)
Durham E-Theses Neoclassicism in the Music of William Alwyn: Selected Works 1938-45 SWEET, ELIZABETH How to cite: SWEET, ELIZABETH (2016) Neoclassicism in the Music of William Alwyn: Selected Works 1938-45, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11796/ Use policy This work is licensed under a Creative Commons Public Domain Dedication 1.0 (CC0) 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 Neoclassicism in the Music of William Alwyn Selected Works 1938-45 Elizabeth Sweet Neoclassicism in the Music of William Alwyn Elizabeth Sweet Material Abstract In 1938 William Alwyn made the radical decision to abandon his previous composition methods and based future works upon the neoclassical compositional aesthetic. The second work to emerge was the Divertimento for Solo Flute, a composition on a single stave with substantial implicit contrapuntal writing. This thesis will examine both the Continental European and British musical context in the period leading up to Alwyn’s 1938 compositional crisis in order to provide a model for neoclassicism. This model will be used to assess Alwyn’s neoclassical compositions to evaluate Alwyn as a composer in the light of his stated wish to become a Bach or Beethoven. It will also include a brief musical biography in order to contextualise Alwyn’s neoclassical compositions within the wider body of his work. i Neoclassicism in the Music of William Alwyn Selected Works 1938-45 Elizabeth Sweet Submitted for the Degree of Master of Arts by Research Department of Music University of Durham 2016 ii Contents INTRODUCTION................................................................................................................. -
Panoramas of Style Author(S): Mari Hvattum Reviewed Work(S): Source: Journal of the Society of Architectural Historians, Vol
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives Panoramas of Style Author(s): Mari Hvattum Reviewed work(s): Source: Journal of the Society of Architectural Historians, Vol. 70, No. 2 (June 2011), pp. 190-209 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/10.1525/jsah.2011.70.2.190 . Accessed: 18/09/2012 08:49 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Society of Architectural Historians are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians. http://www.jstor.org Figure 1 First test-run on the Main Line, with Christiania in the background, xylograph (from Illustreret Nyhedsblad, 1853) JSAH7002_04.indd 190 5/11/11 10:49 AM Panoramas of Style Railway Architecture in Nineteenth-century Norway mari hvattum Oslo School of Architecture and Design he railway came late to Norway. The first rail line architecture, providing fuel to the never-ending debates opened in 1854, almost thirty years after the Stock- about nationhood and national expression that characterized Tton–Darlington railroad had opened in northern the nineteenth century.