The Grotesque in El Greco
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My Mannerism: Inspiration with El Greco
Fitzgerald 1 My Mannerism: Inspiration with El Greco XXXXXXXXXXXX ART 307A March 20, 2013 Art History Lesson Plan My Mannerism Fitzgerald 1 Art History Plan Lesson History Art 3 IA. Curriculum Frameworks: Which MA Curriculum Frameworks connect to your goals? 3 IB. Generative Topic: What is the focal concept or skill of the lesson? 3 IC. Measurable Objectives: What do you want students to know and be able to do? 3 ID. End of lesson Assessment: How are you going to assess ART student’s understanding? 2 IIA. Content and Skills: What do you know about what you PLAN LESSON are planning to teach? 3 IIB. Rationale: Why teach the lesson? 3 My Mannerism My III. Knowledge of Students: Why does knowing your students matter? 3 IV. Materials: What materials, resources, and technology will #2 you need? RUBRIC RATINGS RUBRIC 3 VA. Beginning of the Lesson: How will you immediately engage all of your students in the content? VB. Middle of Lesson: What are your students actively 3 DOING (e.g., speaking, writing, drawing, performing, documenting, observing) to explore the content? VC. Extension and Enrichment Activities During Class Time: 3 How will you actively extend the learning of students who finish tasks early? 3 VD. End of Lesson: How will you help all students actively Fitzgerald Fitzgerald process the experience? 3 VIA. Reflection: Looking at Student Performance Fitzgerald Fitzgerald 3 VIB. Reflection: Looking at teaching 2 2 Fitzgerald 3 My Mannerism: Inspiration with El Greco Grade Level: 4th Number of Classes: 3 Each 45 Minutes in Length Lesson Content Rationale: This lesson is to teach students about the artist El Greco and characteristics of the style of Mannerism. -
El Greco, a Mediator of Modern Painting
El Greco, a mediator of modern painting Estelle Alma Maré Tshwane University of Technology, Pretoria E-mail: [email protected] Without clear articulation of their insights, except in painted copies of and citations from his works, various modern artist seem to have recognised that formally El Greco’s late paintings are mental con- structs, representing only a schematic version of reality. El Greco changed the communicative function of painting from commenting on reality to constituting a reality. It is proposed that modern artists in a quest for a new approach to painting found El Greco’s unprecedented manner of figural expression, extreme degree of anti-naturalism and compositional abstraction a source of inspiration. For various painters that may have been a starting point in finding a new paradigm for art that was at a loose end after the influence of disciples of the French Academy terminated. Key words: El Greco, copying and emulation, Diego Vélazquez, Francis Bacon, Gustave Courbet, Éduard Manet, Edgar Degas, Paul Cézanne, J.F. Willumsen, Oscar Kokoschka, Pablo Picasso, Jackson Pollock El Greco, ’n medieerder van moderne skilderkuns Sonder dat hulle hul insigte duidelik geartikuleer het, behalwe in geskilderde kopieë van en aanhalings uit sy werke, het verskeie moderne kunstenaars blykbaar tot die insig geraak dat El Greco se latere skilderye denkkonstrukte is wat ’n geskematiseerde weergawe van die werklikheid verteenwoordig. Daar word betoog dat moderne kunstenaars op soek na ’n nuwe benadering tot die skilderkuns in El Greco se buitengewone wyse van figuurvoorstelling, anti-naturalisme en komposisionele abstraksie ’n bron van inspirasie gevind het. Vir verskeie kunstenaars was dit waarskynlik ’n aanknopingspunt vir die verwesenliking van ‘n nuwe paradigma vir kuns wat koers verloor het nadat die invloed van die dissipels van die Franse Akademie geëindig het. -
Quidditas 23 (2002)
QUIDDITAS Journal of the Rocky Mountain Medieval and Renaissance Association v olume 23 2002 ii QUIDDITAS 23 (2002) EDITORS Editor: Sharon A. Beehler, Montana State University Associate Editor: Eugene R. Cunnar, New Mexico State University Associate Editor: Margaret Harp, University of Nevada, Las Vegas Associate Editor: Harry Rosenberg, Colorado State University Book Review Editor: Lowell Gallagher, UCLA Associate Editor/Production: Kathryn Brammall, Truman State University MEMBERS OF THE EXECUTIVE COUNCIL AND EDITORIAL ADVISORY BOARD Susan Aronstein, University of Wyoming Sylvia Bowerbank, McMasters University (through 2003) Allen D. Breck, University of Denver (ex-officio) Jean R. Brink, Arizona State University (ex-officio) Stan Benfell, Brigham Young University (through 2004) Eugene R. Cunnar, New Mexico State University (ex-officio) Paul A. Dietrich, University of Montana (ex-officio) Thomas R. Eckenrode, Fort Lewis College (ex-officio) James Fitzmaurice, Northern Arizona University (ex-officio) Lowell Gallagher, UCLA (through 2000) Phebe Jensen, Utah State University (through 2001) Jean MacIntyre, University of Alberta (through 1999) Isabel Moreira, University of Utah (through 2001) Carol Neel, Colorado College (ex-officio) Glenn Olson, University of Utah (ex-officio) Joseph Perry, Brigham Young University (through 2004) Harry Rosenberg, Colorado State University (ex-officio) Charles Smith, State University of Colorado (ex-officio) Sara Jayne Steen, Montana State University (ex-officio) Jesse Swan, University of Northern Iowa (through 2004) Paul Thomas, Brigham Young University (through 2003) Michael Walton, University of Utah (through 1999) Charles Whitney, University of Nevada, Las Vegas (through 2003) Elspeth Whitney, University of Nevada, Las Vegas (through 2003) Jane Woodruff, William Jewell College (through 2004) © Copyright 2002 by The Rocky Mountain Medieval and Renaissance Association. -
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ of IΞJL GRIΞCO and ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175
ΚΝΙΞQUΑΊLΚΊΓΚΙΞ§ ΚΝ ΊΓΗΙΞ WORIΚ Of IΞJL GRIΞCO AND ΊΓΗΙΞΚR ΚΝΊΓΙΞRΙΡRΙΞΊΓΑΊΓΚΟΝ 175 by Nicos Hadjinicolaou In memoryof Stella Panagopoulos, whose presence at the lecture gave me great pleasure The organization of a series of lectures in honour of a distinguished l art critic could bring the invited art historians in the delicate or uncomfortable position of defining the limits proper to art criticism and art history, thus reviving a rather sterile paragon of the 20th century. If, in the debate about the primacy of sculpture or of painting, Vasari (out of conviction it seems and not for reasons of tactics) declared that the controversy was futile because both arts were equally based οη "d isegno", Ι am afraid that tod ay a similar proposition to remove the object of dissent between art criticism and art history by claiming tha.t both were equally based οη "artistic theory" would, unfortunately, be rejected as being tόta11y out of place. Reconciliation being, at least for the moment, impossible, an art historian might be allowed to stress what in his eyes is one of the advantages of art criticism over art history: that it takes a stand, that it takes risks, that it measures the relevance of a work for the present and for the immediate future. It goes without saying that an art critic also jud ges a contemporary work under the burden of his or her knowledge of the art of the past and of the literature written ab out it. Υ et, this does not change the fundamental fact that the appreciation of the work and the value judgements about its assumed "quality" or "validity as a statement" are elements insid e a perspective looking towards the future and not towards the past. -
The Grottesche Part 1. Fragment to Field
CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed. -
The Monopteros in the Athenian Agora
THE MONOPTEROS IN THE ATHENIAN AGORA (PLATE 88) O SCAR Broneerhas a monopterosat Ancient Isthmia. So do we at the Athenian Agora.' His is middle Roman in date with few architectural remains. So is ours. He, however, has coins which depict his building and he knows, from Pau- sanias, that it was built for the hero Palaimon.2 We, unfortunately, have no such coins and are not even certain of the function of our building. We must be content merely to label it a monopteros, a term defined by Vitruvius in The Ten Books on Architecture, IV, 8, 1: Fiunt autem aedes rotundae, e quibus caliaemonopteroe sine cella columnatae constituuntur.,aliae peripteroe dicuntur. The round building at the Athenian Agora was unearthed during excavations in 1936 to the west of the northern end of the Stoa of Attalos (Fig. 1). Further excavations were carried on in the campaigns of 1951-1954. The structure has been dated to the Antonine period, mid-second century after Christ,' and was apparently built some twenty years later than the large Hadrianic Basilica which was recently found to its north.4 The lifespan of the building was comparatively short in that it was demolished either during or soon after the Herulian invasion of A.D. 267.5 1 I want to thank Professor Homer A. Thompson for his interest, suggestions and generous help in doing this study and for his permission to publish the material from the Athenian Agora which is used in this article. Anastasia N. Dinsmoor helped greatly in correcting the manuscript and in the library work. -
Gargoyles of Princeton University Ga Grotesque Tour of the Campus
GARGOYLES of Princeton University Ga grotesque tour of the campus 1 2 Here we were taught by men and Gothic towers democracy and faith and righteousness and love of unseen things that do not die. H. E. Mierow ’14 or centuries scholars have asked why gargoyles inhabit their most solemn churches and institutions. Fantastic explanations have come downF from the Middle Ages. Some art historians believe that gargoyles were meant to depict evil spirits over which the Christian church had triumphed. One theory suggests that these devils were frozen in stone as they fled the church. Supposedly, Christ set these spirits to work as useful examples to men instead of sending them straight to damnation. Others say they kept evil spirits away. Psychologists suggest that gargoyles represent the fears and superstitions of medieval men. As life became more secure, the gargoyles became more comical and whimsical. This little book introduces you to some men, women, and beasts you may have passed a hundred times on the campus but never noticed. It invites you to visit some old favorites. A pair of binoculars will bring you face-to-face with second- and third- story personalities. Why does Princeton have gargoyles and grotesques? Here is one excuse: … If the most fanciful and wildest sculptures were placed on the Gothic cathedrals, should they be out of place on the walls of a secular educational establishment? (“Princeton’s Gargoyles,” New York Sun, May 13, 1927) Note: Taking some technical license, the creatures and carvings described in this publication are referred to as “gargoyles” and “grotesques.” Typically, gargoyles are defined as such only when they also serve to convey water away from a building. -
Music As an Angelic Message in El Greco's Oeuvre
Music as an angelic message in El Greco’s oeuvre Estelle Alma Maré Department of Architecture, Tshwane University of Technology, Pretoria E-mail: [email protected] Angels are assumed to represent messengers from God and in Christian art they are traditionally de- picted as winged human beings. In the visual arts all figures are mute; therefore angel music as the divine message relayed to the viewer needs to be interpreted as a form of visual gestural rhetoric with an imaginary auditive reference. In order to treat this theme, the article is introduced by a general discussion of the representation of angels in El Greco=s oeuvre, followed by a brief orientation to the theme of angel musicians in Medieval and Renaissance art. An analysis of El Greco=s paintings that include heavenly musicians reveal that the interaction between heaven and earth becomes continuous, eliminating the contrast between these zones that was postulated by Aristotle. Even though only a lim- ited number of El Greco=s paintings include angel musicians, their active presence in some of his most imaginative compositions illustrate the way in which he evolved an unique iconographical convention related to the theme of these consorts, and his innovative expansion of the meaning of the being and missions of angels. Keywords: El Greco, angel consort, harmony of the spheres, musical instruments Musiek as =n engel-boodskap in El Greco se oeuvre Dit word veronderstel dat engele boodskappers van God is en in Christelike kuns word hulle tradi- sioneel as gevlerkte mensfigure voorgestel. In die visuele kunste is alle figure stom; dus moet en- gel-musiek as die goddelike boodskap wat aan die aanskouer oorgedra word, as =n vorm van visuele gebare-retorika met =n denkbeeldige ouditiewe verwysing geïnterpreteer word. -
El Greco at the Ophthalmologist's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Predella journal of visual arts, n°35, 2014 - Miscellanea / Miscellany www.predella.it / predella.cfs.unipi.it Direzione scienti" ca e proprieta ̀ / Scholarly Editors-in-Chief and owners: Gerardo de Simone , Emanuele Pellegrini - [email protected] Predella pubblica ogni anno due numeri online e due numeri monogra" ci a stampa / Predella publishes two online issues and two monographic print issues each year Tutti gli articoli sono sottoposti alla peer-review anonima / All articles are subject to anonymous peer-review Comitato scienti" co / Editorial Advisory Board : Diane Bodart, Maria Luisa Catoni, Michele Dantini, Annamaria Ducci, Fabio Marcelli, Linda Pisani, Riccardo Venturi Cura redazionale e impaginazione / Editing & Layout: Paolo di Simone Predella journal of visual arts - ISSN 1827-8655 pubblicato nel mese di Ottobre 2015 / published in the month of October 2015 Andrea Pinotti El Greco at the Ophthalmologist’s The paper aims at reconstructing the centennial history of the so-called “El Greco fallacy”, namely the hy- pothesis that the extremely elongated gures painted by the Cretan artist were due to his astigmatism and not to a stylistic option intentionally assumed by the painter. This hypothesis interestingly and prob- lematically intertwines the status of the perceptual image with the status of the represented picture. While o ering a survey of the main positions defended by ophthalmologists, psychologists, art critics and art historians on this optical issue, the essay tries to reject the false alternative between a physiologistic and a spiritualistic approach to art, both based on an unsustainable causalistic assumption. -
Masters in Art : a Series of Illustrated Monographs
JULY, 1908 EL GRECO PRICE, 20 CENTS IftpStajHitflrt |^M|k EL GRECO PART 103'- VOLUME 9 JJateHflDGuildQompany, Kublteljerg 42<$aunit$tRrt MASTERS I N ART A SERIES OF ILLUSTRATED MONOGRAPHS: ISSUED MONTHLY PART 103 JULY VOLUME 9 351 <£r CONTENTS Plate I. The Annunciation Owned by Durand-Ruel Plate II. Portrait du Cardinal Tavera Museum, Toledo Plate III. The Assumption Art Institute, Chicago Plate IV. Portrait of Cardinal Sforza Pallavicino Art Museum, Boston Plate V. The Nativity Plate VI. St. Basil Prado Museum, Madrid Plate VII. Portrait of a Physician Prado Museum, Madrid Plate VIII. Portrait of Cardinal Don Fernando Nino de Guevara Private Collection Plate IX. Head of a Man Prado Museum, Madrid Plate X. Christ Dead in the Arms of God Prado Museum, Madrid The Life of El Greco Page 23 The Art of El Greco Page 28 Criticisms by Justi, Stirling-Max well, Muther, Ricketts, Lafond and Geffroy The Works of El Greco: Descriptions of the Plates and a List of Paintings Page 38 El Greco Bibliography Page 42 Photo-engravings by Suffolk Engraving and Electrotyping Co.: Boston. Press-work by the Everett Press: Boston. A complete index for previous numbers will be found in the Reader's Guide to Periodical Literature, which may be consulted in any library. PUBLISHERS’ ANNOUNCEMENTS SUBSCRIPTIONS: Yearly subscription, commencing with any number of the current calendar year, $2.00, payable in advance, postpaid to any address in the United States. To Canada, $2.25 ; to foreign countries in the Pos¬ tal Union, $2.50. As each yearly volume of the magazine commences with the January number, and as indexes and bindings are prepared for complete volumes, intending subscribers are advised to date their subscriptions from Jan¬ uary. -
View Fast Facts
FAST FACTS Author's Works and Themes: Edgar Allan Poe “Author's Works and Themes: Edgar Allan Poe.” Gale, 2019, www.gale.com. Writings by Edgar Allan Poe • Tamerlane and Other Poems (poetry) 1827 • Al Aaraaf, Tamerlane, and Minor Poems (poetry) 1829 • Poems (poetry) 1831 • The Narrative of Arthur Gordon Pym of Nantucket, North America: Comprising the Details of a Mutiny, Famine, and Shipwreck, During a Voyage to the South Seas; Resulting in Various Extraordinary Adventures and Discoveries in the Eighty-fourth Parallel of Southern Latitude (novel) 1838 • Tales of the Grotesque and Arabesque (short stories) 1840 • The Raven, and Other Poems (poetry) 1845 • Tales by Edgar A. Poe (short stories) 1845 • Eureka: A Prose Poem (poetry) 1848 • The Literati: Some Honest Opinions about Authorial Merits and Demerits, with Occasional Words of Personality (criticism) 1850 Major Themes The most prominent features of Edgar Allan Poe's poetry are a pervasive tone of melancholy, a longing for lost love and beauty, and a preoccupation with death, particularly the deaths of beautiful women. Most of Poe's works, both poetry and prose, feature a first-person narrator, often ascribed by critics as Poe himself. Numerous scholars, both contemporary and modern, have suggested that the experiences of Poe's life provide the basis for much of his poetry, particularly the early death of his mother, a trauma that was repeated in the later deaths of two mother- surrogates to whom the poet was devoted. Poe's status as an outsider and an outcast--he was orphaned at an early age; taken in but never adopted by the Allans; raised as a gentleman but penniless after his estrangement from his foster father; removed from the university and expelled from West Point--is believed to account for the extreme loneliness, even despair, that runs through most of his poetry. -
Nawoord Summary Bibliografie Herkomst Afbeeldingen
VU Research Portal Het huis en de regels van het denken de Mare, H. 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) de Mare, H. (2003). Het huis en de regels van het denken: Een cultuurhistorisch onderzoek naar het werk van Simon Stevin, Jacob Cats en Pieter de Hoogh. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 02. Oct. 2021 NAWOORD Nawoord Dichterbijhuis:overhetnutvancultuurhistorischesensibiliteit ‘Wanneermentegenoveruonsvakalsluxe-vakbetitelt,ishetaanutetoonen,dateen samenlevingmoeilijkgevaarlijkerkandolen,danwanneerzijdenwegtothaareigenkunstwerken heeftverlorenendathetbehoedendierwerkenenhetvrijhoudenvandatpadeenculturelearbeid isvanhetgrootstebelang.’H.vandeWaal,