15 . 06 . 2012 - 13 H/U - 1 P.M
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Western Illuminated Manuscripts: a Catalogue of the Collection in Cambridge University Library Paul Binski and Patrick Zutshi Frontmatter More Information
Cambridge University Press 978-0-521-84892-3 - Western Illuminated Manuscripts: A Catalogue of the Collection in Cambridge University Library Paul Binski and Patrick Zutshi Frontmatter More information WESTERN ILLUMINATED MANUSCRIPTS Cambridge University Library’s collection of illuminated manuscripts is of international signifi cance. It originates in the medieval university and stands alongside the holdings of the Colleges and the Fitzwilliam Museum. Th e University Library contains major European examples of medieval illumination from the ninth to the sixteenth centuries, with acknowledged masterpieces of Romanesque, Gothic and Renaissance book art, as well as illuminated literary texts, including the fi rst complete Chaucer manuscript. Th is catalogue provides scholars and researchers easy access to the University Library’s illuminated manuscripts, evaluating the importance of many of them for the very fi rst time. It contains descriptions of famous manuscripts – for example, the Life of Edward the Confessor attributed to Matthew Paris – as well as hundreds of lesser-known items. Beautifully illustrated throughout, the catalogue contains descriptions of individual manuscripts with up-to-date assessments of their style, origins and importance, together with bibliographical references. PAUL BINSKI is Professor of the History of Medieval Art at Cambridge University. He specializes in the art and architecture of medieval Western Europe. His previous publications include Th e Painted Chamber at Westminster (1986), Westminster Abbey and the Plantagenets (1995), which won the Longman History Today Book of the Year award, and Becket’s Crown: Art and Imagination in Gothic England, 1170–1300 (2004), winner of the 2006 Historians of British Art Prize and the Ace-Mercers 2005 International Book Prize. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
“This Translation—The First Into English—Of the Life of Jesus Christ By
“This translation—the first into English—of The Life of Jesus Christ by Ludolph of Saxony will be welcomed both by scholars in various fields and by practicing Christians. It is at the same time an encyclopedia of biblical, patristic, and medieval learning and a compendium of late medieval spirituality, stressing the importance of meditation in the life of individual believers. It draws on an astonishing number of sources and sheds light on many aspects of the doctrinal and institutional history of the Church down to the fourteenth century.” — Giles Constable Professor Emeritus Princeton University “Milton T. Walsh has taken on a Herculean task of translating The Life of Christ by the fourteenth-century Carthusian, Ludolph of Saxony. He has more than risen to the challenge! Ludolph’s text was one of the most widely spread and influential treatments of the theme in the later Middle Ages and has, until now, been available only in an insufficient late nineteenth-century edition (Rigollot). The manuscript tradition of The Life of Christ (Vita Christi) is extremely complex, and Walsh, while basing his translation on the edition, has gone beyond in providing critical apparatus that will be of significant use to scholars, as well as making the text available for students and all interested in the theology, spirituality, and religious life of the later Middle Ages. His introduction expertly places Ludolph’s work in the textual tradition and is itself a contribution to scholarship. Simply put, this is an amazing achievement!” — Eric Leland Saak Professor of History Indiana University “Walsh has done pioneering work unearthing the huge range of patristic, scholastic, and contemporary sources that Ludolph drew upon, enabling us to re-evaluate the Vita as an encyclopedic compilation, skillfully collating a range of interpretations of the gospel scenes to meditational ends. -
The Changing Perception of the Five Senses
IKONOTHEKA 29, 2019 Sara Benninga deparTmenT oF arT hisTory, Tel aviv universiTy [email protected] The Changing Perception of the Five Senses Abstract This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context. -
Winter Dialogue-Final-2
Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor -
Cover Hubert Le Sueur Hercules and Telephus.Indd
benjamin proust fine art limited london benjamin proust fine art limited london attributed to HUBERT LE SUEUR Paris, 1580–1658 hercules and telephus circa 1630 Bronze 39.4 x 15.9 x 12.4 cm Inventory mark ‘8’ in red paint on lion skin tail provenance Most probably, François Le Vau (1613–1676), ‘Maison du Centaure’, 45 Quai de Bourbon, Paris, until his death; Most probably, Louis, Grand Dauphin de France (1661–1711), Château de Versailles, from at least 1689 and until his death, when sold; Most probably, Jean-Baptiste, Count du Barry (1723–1794), Paris; His sale, 21 November 1774, lot 142; Noble private collection, Provence, France, until 2017 comparative literature F. Souchal, Les Frères Coustou, Paris, 1980 G. Bresc-Bautier, ‘L’activité parisienne d’Hubert Le Sueur sculpteur du roi (connu de 1596 à 1658)’, in Bulletin de la Société de l’histoire de l’art français, 1985, pp. 35–54 C. Avery, ‘Hubert Le Sueur, the ‘Unworthy Praxiteles’ of King Charles I’, in Studies in European Sculpture II, London, 1988, pp. 145–235 J. Chlibec, ‘Small Italian Renaissance Bronzes in the Collection of the National Gallery in Prague’, in Bulletin of the National Gallery in Prague, III-IV (1993–94), pp. 36–52 A. Gallottini (ed.), ‘Philippe Thomassin: Antiquarum Statuarum Urbis Romae Liber Primus (1610–1622)’, in Bollettino d’Arte, 1995, pp. 21–23 S. Castelluccio, ‘La Collection de bronzes du Grand Dauphin’, in Curiosité: Édutes d’histoire de l’art en l’honneur d’Antoine Schnapper, Paris, 1998, pp. 355–63 S. Baratte, G. Bresc-Bautier et al., Les Bronzes de la Couronne, exh. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
Large Impact Basins on Mercury: Global Distribution, Characteristics, and Modification History from MESSENGER Orbital Data Caleb I
JOURNAL OF GEOPHYSICAL RESEARCH, VOL. 117, E00L08, doi:10.1029/2012JE004154, 2012 Large impact basins on Mercury: Global distribution, characteristics, and modification history from MESSENGER orbital data Caleb I. Fassett,1 James W. Head,2 David M. H. Baker,2 Maria T. Zuber,3 David E. Smith,3,4 Gregory A. Neumann,4 Sean C. Solomon,5,6 Christian Klimczak,5 Robert G. Strom,7 Clark R. Chapman,8 Louise M. Prockter,9 Roger J. Phillips,8 Jürgen Oberst,10 and Frank Preusker10 Received 6 June 2012; revised 31 August 2012; accepted 5 September 2012; published 27 October 2012. [1] The formation of large impact basins (diameter D ≥ 300 km) was an important process in the early geological evolution of Mercury and influenced the planet’s topography, stratigraphy, and crustal structure. We catalog and characterize this basin population on Mercury from global observations by the MESSENGER spacecraft, and we use the new data to evaluate basins suggested on the basis of the Mariner 10 flybys. Forty-six certain or probable impact basins are recognized; a few additional basins that may have been degraded to the point of ambiguity are plausible on the basis of new data but are classified as uncertain. The spatial density of large basins (D ≥ 500 km) on Mercury is lower than that on the Moon. Morphological characteristics of basins on Mercury suggest that on average they are more degraded than lunar basins. These observations are consistent with more efficient modification, degradation, and obliteration of the largest basins on Mercury than on the Moon. This distinction may be a result of differences in the basin formation process (producing fewer rings), relaxation of topography after basin formation (subduing relief), or rates of volcanism (burying basin rings and interiors) during the period of heavy bombardment on Mercury from those on the Moon. -
«Credere Virginem in Corde Per Fidem». Images of Mary in the Libri Carolini
«CREDERE VIRGINEM IN CORDE PER FIDEM». IMAGES OF MARY IN THE LIBRI CAROLINI Diego Ianiro References to the Virgin Mary are quite rare in the writings produced at the court of Charlemagne before 794.1 With the doubtful exception of marian sermons gathered in the homiliary of Paul the Deacon, among the works released between the Admonitio generalis (789) and the Council of Frankfurt (794) it is possible to find several mentions of the Mother of God only in the Libri Carolini.2 Paul’s homiliary was in fact commissioned by Charlemagne, as it is clearly stated in its prefatory letter known as Karoli epistola generalis,3 in a period that cannot be determined with precision: in recent scolarship it ranges approximately from 786, the year before Paul’s return to Monte Cassino, to 796/799,4 the alleged date of his death. Moreover, as the homiliary still awaits a 23RD INTERNATIONAL CONGRESS OF BYZANTINE STUDIES, BELGRADE 23 AUGUST 2016. Thematic Sessions of Free Communications: New Feasts, New Sermons: The Cult of Mary on the Eve of Iconoclasm, in Byzantium and Beyond (Faculty of Philology, Room 11 - 15.30) 1 The amount of bibliography about Latin mariology in Early Middle Ages can be overwhelming; for this reason a reasoned selection of reference works could be useful here. On Carolingian mariology cf. L. SCHEFFCZYK, Das Mariengeheimnis in Frömmigkeit und Lehre der Karolingerzeit, Leipzig 1959 (Erfurter theologische Studien, 5); I. SCARAVELLI, Per una mariologia carolingia: autori, opere e linee di ricerca, in Gli studi di mariologia medievale: bilancio storiografico, Atti del I convegno mariologico della Fondazione Ezio Franceschini (Parma, 7-8 November 1997), ed. -
![Catalogue Number [Of the Bulletin]](https://docslib.b-cdn.net/cover/3412/catalogue-number-of-the-bulletin-1433412.webp)
Catalogue Number [Of the Bulletin]
BULLETIN OF WELLESLEY COLLEGE CATALOGUE NUMBER 1967-1968 JULY 1967 CATALOGUE NUMBER BULLETIN OF WELLESLEY COLLEGE July 1967 Bulletins published six times a year by Wellesley College, Green Hall, Wellesley, Massachusetts 02181. January, one; April, one; July, one; Ocober, one; Novem- ber, two. Second-Class postage paid at Boston, Massachusetts and at additional mailing offices. Volume 57 Number 1 CALENDAR Academic Year 1967-1968 Term I Registration of new students, 9:00 a.m. to 11:00 p.m Sunday, September 10 Registration closes for all students, 11:00 p.m Tuesday, September 12 Opening Convocation, 8:30 a.m Wednesday, September 13 Classes begin Thursday, September 14 _, , . C Wednesday, November 22 . after classes iiianksgivmg recess ° <. , ^^ a^ j m i a-r ^ ) to 1:00 A.M Monday, November 27 _, ( from Tuesday, December 12 Exammations: <,, , c i. j rA u ic y through Saturday, December lb Christmas vacation begins after the student's last examination. Term II Registration closes for all students, 1:00 a.m. .Thursday, January 4 „ (after classes Wednesday, February 21 /to 1:00 a.m Monday, February 26 from Tuesday, April 2 Examinations: <., , through Saturday,c i. i Aprila i bc I Spring vacation begins after the student's last examination. Term III Registration closes for all students, 1:00 a.m. .Tuesday, April 16 ^ ( from Monday, May 27 Exammations: <^, , t- j a/t oc ) through Tuesday, May 28 Commencement Saturday, June 1 2 TABLE OF CONTENTS Visitors; Correspondence 5 Board of Trustees . 6 Officers of Instruction and Administration 7 The College 21 The Curriculum 26 Requirements for the Degree of Bachelor of Arts; Exemp- tion; Advanced Placement; Credit Outside the Regular Course Program; Course and Special Examinations; Research or In- dividual Study; Academic Distinctions and Honors; Require- ments for Master of Arts Degree Special Programs and Preparation for Careers . -
''Was There a Carolingian Italy?'' Politics Institutions and Book Culture
”Was there a Carolingian Italy?” Politics institutions and book culture François Bougard To cite this version: François Bougard. ”Was there a Carolingian Italy?” Politics institutions and book culture. Clemens Gantner; Walter Pohl. After Charlemagne: Carolingian Italy and its Rulers, Cambridge University Press, pp.54-82, 2020, 9781108840774. 10.1017/9781108887762.007. halshs-03080753 HAL Id: halshs-03080753 https://halshs.archives-ouvertes.fr/halshs-03080753 Submitted on 16 Jul 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. [paru dans: After Charlemagne: Carolingian Italy and its Rulers, éd. Clemens Gantner et Walter Pohl, Cambridge Cambridge University Press, 2020, p. 54-82.] François Bougard ‘Was there a Carolingian Italy?’ Politics, institutions, and book culture* ‘The Carolingians in Italy’ is a literary myth. In order to account for the installation of the Franks on the Italian peninsula, our manuals have clung to a received vulgate. They assert that Pippin the Short and then Charlemagne allied themselves with the papacy, at the pope’s request, in order to stave off the Lombard threat against the Exarchate of Ravenna and defend the interests of the Holy See. But at the end of the tenth century, south of Rome, the story included other elements. -
Ichrist Expiring on the Cross Pierre-Simon Jaillot, Attributed C. 1660 Ivory 36.6 Cm Provenance: Private Spanish Collection
iChrist Expiring on the Cross Pierre-Simon Jaillot, attributed c. 1660 Ivory 36.6 cm Provenance: Private Spanish collection With its head raised and tilted slightly to the right, this beautifully carved figure of the Crucified Christ presents a high forehead, with v-shaped arches over the eyebrows accentuating the pained expression manifested by the knitted eyebrows. The eyes are raised heavenward as depicted by the barely visible curves of the pupils etched in the ivory on the upper part of the cornea, under eyelids that have been reduced to a line. A slender, straight nose, somewhat short, features above a half-open mouth that reveals the teeth and tongue, with a moustache with long wavy ends whose tips merge into a short beard cleft into two large curls. The hair frames an oval face of classical proportions and falls to the right over the chest in an ornate cascade of curls arranged into regular locks of prominent undulations, being likewise arranged, albeit drawn further back from the face, on the left-hand side. There is a fault in the material on a level with the left eye. The anatomy of very precise proportions presents, under a neck of pronounced muscles under stress, a long broad torso that does not feature the classical spear wound. The nether regions of the narrow hips are covered by a loincloth with small, sharply profiled folds tucked into the cord that holds it, although the knot that may have featured over the right hip is missing. Another unusual feature is a row of small red dots on the loincloth whose purpose or meaning is unknown.