DOCSLIB.ORG

Jephthah's Daughter Tht Four Elements Christ Chained to the Column

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jephthah's Daughter Tht Four Elements Christ Chained to the Column NYSTAI) in their 121styear 1862-1983 PrnrEn LesruAN Jephthah'sdaughter Jo* LrEvBxs Thtfour elements Christchained to thecolumn textile workers,who fled north about 1580to vlIAn LigUenS wasborn in the city or Leiden on October 24.1607.He camehom escapethe Spanish terror in their land. A great good stock: Mr. Lieven Henricxsz., an able deal of what we think of as Dutch culture was embroiderer, and Machtelt Jansdr. van actually brought to the northern Netherlands Noortzant. When he was about eight years old, by theserefugees, who were on the whole his father, noticing how strongly attracted he better educated and more sophisticatedthan was to painting, brought him toJoris van the Hollanders. Schooten, quite a good painter, who taught him When Orlers tells us thatJoris van Schooten the basicsof drawing as well aspaintingl was 'quite a good painter] he was not just being This account ofJan Lievens'sbackground and polite. \/a.nSchooten (ca. |587-1652/53) may beginnings as an artist was written by a man not have been a high flyer, but he was a serious who knew what he was talking about:Jan Orlers, and dedicated painter who was well regarded town historian and former burgomaster oÍ' in Leiden.The city of Lievens'syouth was kiden and across-the-streetneighbor of the dominated by textile merchants and professors, Lievenses.I{is lead enabled researchersin the and neither group was really interested in the Leiden archives to locate the registration of the latest innovations in art. Haarlem and Utrecht marriage of Lievens's parents, in which Lieven were the placesto go for the newest Henricxsz.declared that he was born in Ghent, developmentsin Dutch painting in 1615. in the southernNetherlands. This meansthat Van Schooten'spainstaking style of portraiture he was probably one of the thousandsof was old-fashioned next to the works of the Flemish Protestants,many of them skilled Haarlemmer FransHals, but that appealedto 1 Pieter Lastman (l 5 83- 1633),Je p htha h's daughterwelcoming her father homefrom the battlefield.Ca. i610. Panel,123 x 200 cm. most Leideners.The major commissionsfor oppression in Ghent. Neither did this prevent group portraits of the civic guard went in Lievens's parents from placing their boy with Leiden to van Schooten. Lastman. Professional,not family background, Fortunately for Lievens, his first teacher was seemsto have tipped the scales. not a provincial of the spirit. As an apprentice, Lastman had been to Italy and back before van Schooten had wanted to finish his training Lievens was born, and he had a knowledge of abroad,but the idea made his mother so Italian art that was rare in Holland at the time. unhappy that he stayed at home. He seemsto Carel van Mander himself. in his immofial Book have had the same ambition for Lievens, and a ofpainters (1604), had written of the then similar problem. After only two years with van twentv-vear-old artist: A certain Pieter Schooten, the precocious Lievens was ready to Lastman, of whom good things are expected, is move on. But he was only ten years old, and at present in Italy3 Lastman achieved a fair there could be no question of sendinghim to measureof local successin his lifetime, but by Italy. The choice of the new master - Pieter 1657the poetJoachim Oudaen, in an ode to a Lastman(1583-1633) - seemsto have beena Lastman painting: wrote that 'the name of this compromise. It cannot have been family famous artist has been submerged in oblivionl background that attracted the Lievensesto This remained true until our century but today Lastman. His father had been an Amsterdam an increasing number of art historians would civil servant who lost his position on account of say that he fulfilled van Mander's expectations his adherence to Catholicism around the time after all. that Lieven Henricxsz. fled from Catholic When the ten-year-old Lievens came to 2 Detail of fig. L Lastman'sstudio in 1617or '18, one of the 1615Abraham de Koning published his master's earlier paintings he might have seen tragedy Jephthah and his only daughterl after wasJephthah'sdaughter welcoming her fother home it had been performed an unknown number of of the more fromthe battlefield(figs.1-2). The painting shows times. De Koning was one the climax of a story told inJudges 11. prominent Amsterdam playwrights of those followed with interest. Jephthah the Gilead (scholarswere not sure at vears.and his work was the time whether or not he was aJew) promised berbrant Bredero wrote a poem of praise for the God that if he were victorious in driving the play in which he said that de Koning's'Jephthah' Ammonites out of the land of Israel,he would was the talk of Amsterdam. The illusion of the sacrifice the first creature to greet him upon his sacrifice scenewas so perfect, he said, that part return home. He was victorious, and the first of the audience truly believed that a girl had creature to greet him was his only daughter. been beheadedbefore their eyes.(Around 1640, After two months,Jephthah carried out his vow. when Tèngnagel'spoet son Mattheus published Lastman's spectacular painting ofJephthah's a rhymed roll-list of 150Dutch poets,he called triumph turned to tragedy was the largest work de Koning'Jephthah's father'.) he ever made, and it must have been As it happens,one of the few documents conspicuousfor other reasonsas well. Painted concerning Lastman links him to Bredero in around 1610,it treated a subject that had 1615.In thatyear the painter was involved in a strong topical appeal, as we shall see.Lastman's lawsuit with Bredero's father and sisteq painting inspired another treatment of the apparently concerning marriage plans that did theme byJan Tengnagelaround 1611.And in not go through. Lastman nearly married into 3 Jan Lievens, Fire. Ca.1624.Panel, 83.5x 60 cm. the circle of the Amsterdam playwrights. In any For good measure, de Koning points out the case,he was close enough to them so that we resemblanceofJephthah's daughter to may assumethat hisJephthahwas related in Abraham's son Isaac, both 'mirrors of true meaning to theirs. childlike obedience to God and parentsl Lastman's painting is certainly a dramatic flewish Bible commentators, by the way, production in itself. (It certainly is not a explain away the ugly - and pagan - side of the depiction of an actual performance of de story by saying thatJephthah merely banished Koning's play. The title print of that work is his daughter, and did not sacrifice her.)Joost much closer to the rather static composition by van den Vondel, in a poem on his colleague's Tengnagel.) play, compares her to lphigenia, whose bloody In his preface to the play, de Koning calls death had recently graced the Amsterdam Jephthah 'a living painting of the inconstancy stage. of this deceitful worldl At the top of his good One of the intriguing aspectsof the matter is fortune,Jephthah is plunged into deepest that Abraham de Koning was not just a despair.De Koning also applies the drama to playwright but also a publisher, printseller and the political situation of the moment. In 1609 art dealer. Could it be that he was somehow Holland signed the Twelve Year Thucewith behind the creation of Lastman's monumental Spain, and was feeling triumphant. But de parrel?If he was, thentheJephthahmayhave Koning waÍns: United land, beware: when been first offered for sale from his premises in Fortune smiles the broadest / The Maid of the New Exchange, acrossthe Dam from the Freedom may despair of her young life. Nieuwe Kerk. Í t T I I 4 JanLievens, Air. Ca. 1624.Panel, 83.5x 60 cm. Another ten-year-old with no formal education arnazed,finding it hard to believe that such would have bóen overwhelmed by all of this. works had been made by a boy of twelve or What kind of profession was littleJan Lievens little morel getting himself into? His master not only was Now Orlers was speaking from even more ( called upon to tackle a vast composition with direct knowledge. He himself was one of those I major N eight and twenty minor figures dressed 'with an understanding of art'who were I ï in a mixture of ancient, oriental and modem impressed by the young Lievens. The inventory costume, six horses and an elephant; but he of the former burgomaster's goods, drawn up also had to take account of the work of twenty years later, included nine paintings by piaywrights, chambers of rhetoric, poets; shades Lievens, more than by other artist: two still of intelpretation in Biblical studies; moralizing lifes, two vanitas paintings,^y a tavern sceneand religious associations;classical allusions; hot 'the four evangelists made from life, on four political issuesland the necessityto get it all panels3 right in order to sell one's work. Lievens's very first paintings have so far But not Lievens.'Leavingthe above-mentioned remained unidentified. He was unfortunately Lastman... after about two years of great lax about signing and dating, giving the art progress...,he took no other master after him. historian an almost impossible task, especially He moved in with his father, and filled his time with regard to the works of an unformed youth. industriously painting a variety of different Probably the earliest works that can be given subjects from life. He did this so well that many to him with a great measure of certainty, and people with an understanding of axt were which are certainly not those of a beginner, are 5 Jan Lievens, Earth. Ca.1624.Panel, 83.5x 60 cm.
Load more

Recommended publications
  • Rembrandt: a Milestone of Portraiture
    Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 (e): 2395-7247 Vol. VIII. 2016 IMPACT Factor - 3.9651 Rembrandt: a Milestone of Portraiture Syed Ali Jafar Assistant Professor Dept. of Painting, D.S. College, Aligarh. Email: [email protected] Abstract When we talk about portraiture, the name of Dutch painter Rembrandt comes suddenly in our mind who was born in 1607 and studied art in the studio of a well known portrait painter Pieter Lastman in Amsterdam. Soon after learning all the basics of art, young Rembrandt established himself as a portrait painter along with a reputation as an etcher (print maker). As a result, young and energetic Rembrandt established his own studio and began to apprentice budding artist almost his own age. In 1632, Rembrandt married to Saskia van Ulyenburg, a cousin of a well known art dealer who was not in favour of this love marriage. Anyhow after the marriage, Rembrandt was so happy but destiny has written otherwise, his beloved wife Saskia was died just after giving birth to the son Titus. Anyhow same year dejected Rembrandt painted his famous painting „Night Watch‟ which pull down the reputation of the painter because Rembrandt painted it in his favourite dramatic spot light manner which was discarded by the officers who had commissioned the painting. Despite having brilliant qualities of drama, lighting scene and movement, Rembrandt was stopped to obtain the commission works. So he stared to paint nature to console himself. At the same time, Hendrickje Stoffels, a humble woman who cared much to child Titus, married Rembrandt wise fully and devoted her to reduce the tide of Rembrandt‟s misfortune.
    [Show full text]
  • 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.
    [Show full text]
  • Helmich Von Tweenhuysen II
    Helmich von Tweenhuysen II (Amsterdam c.1604 - Gdańsk 1673) Portrait of a Bearded Cleric oil on canvas 74 x 58.7 cm (29⅛ x 23⅛ in) Provenance: American Art Galleries, New York, 1903, no. 148. with Dowdeswell and Dowdeswells, London, 1899; with Eugene Fischhof, Paris; his sale, New York, Chickering Hall, 9th March 1900, no. 102; his sale, Paris, 16th May 1904, no. 24, (for Fr.1250); Jos. Monchen et al sale, Amsterdam, Frederk Muller & Cie, 30th April 1907, no. 114 (for fl. 1000). (All the above as by Jan Lievens) Literature: Hans Schneider, Jan Lievens: Sein Leben und Seine Werke (Bohn, 1932), p. 180, no. LXIX. Salomon Lilian: Old Masters 2013, (Amsterdam 2013), p.76, fig. 1. HIS INTRIGUING HALF-PORTRAIT IS A NEW addition to the small extant ouevre of Helmich van Tweenhuysen II. A bearded cleric of Eastern-European appearance looks directly out at the viewer with a penetrating gaze. He is dressed in a tall soft cap and dark Trobes, augmented by thick sash and a crucifix on a chain. Although his dress is relatively sober, the rich velvet of his cap, glinting colours of the chains around his neck and cap suggest that the sitter is a figure of wealth and importance. Currently the sitter’s identity remains elusive. He appears in another very similar portrait by van Tweenhuysen in the Muzeum Narodowe in Wroclaw, Poland. In the Wroclaw portrait, the sitter turns in the opposite direction, and his right hand rests upon a book, but he is dressed in the identical restrained but luxurious costume.
    [Show full text]
  • Rembrandt Van Rijn Dutch / Holandés, 1606–1669
    Dutch Artist (Artista holandés) Active Amsterdam / activo en Ámsterdam, 1600–1700 Amsterdam Harbor as Seen from the IJ, ca. 1620, Engraving on laid paper Amsterdam was the economic center of the Dutch Republic, which had declared independence from Spain in 1581. Originally a saltwater inlet, the IJ forms Amsterdam’s main waterfront with the Amstel River. In the seventeenth century, this harbor became the hub of a worldwide trading network. El puerto de Ámsterdam visto desde el IJ, ca. 1620, Grabado sobre papel verjurado Ámsterdam era el centro económico de la República holandesa, que había declarado su independencia de España en 1581. El IJ, que fue originalmente una bahía de agua salada, conforma la zona costera principal de Ámsterdam junto con el río Amstel. En el siglo XVII, este puerto se convirtió en el núcleo de una red comercial de carácter mundial. Gift of George C. Kenney II and Olga Kitsakos-Kenney, 1998.129 Jan van Noordt (after Pieter Lastman, 1583–1633) Dutch / Holandés, 1623/24–1676 Judah and Tamar, 17th century, Etching on laid paper This etching made in Amsterdam reproduces a painting by Rembrandt’s teacher, Pieter Lastman, who imparted his close knowledge of Italian painting, especially that of Caravaggio, to his star pupil. As told in Genesis 38, the twice-widowed Tamar disguises herself to seduce Judah, her unsuspecting father-in-law, whose faithless sons had not fulfilled their marital duties. Tamar conceived twins by Judah, descendants of whom included King David. Judá y Tamar, Siglo 17, Aguafuerte sobre papel acanalado Esta aguafuerte creada en Ámsterdam reproduce una pintura del maestro de Rembrandt, Pieter Lastman, quien impartió su vasto conocimiento de la pintura italiana, en especial la de Caravaggio, a su discípulo estrella.
    [Show full text]
  • Jan Lievens (Leiden 1607 – 1674 Amsterdam)
    Jan Lievens (Leiden 1607 – 1674 Amsterdam) © 2017 The Leiden Collection Jan Lievens Page 2 of 11 How To Cite Bakker, Piet. "Jan Lievens." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricxsz, “a skillful embroiderer,” and Machtelt Jansdr van Noortsant. 1 The couple would have eight children, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus), the eldest son, a bookseller. 2 In 1632 Joost married an aunt of the painter Jan Steen (1625/26–79). 3 At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well [and] from whom he learned the rudiments of both drawing and painting.” 4 According to Orlers, Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress in art.” 5 What impelled his parents to send him to Amsterdam at such a young age is not known. When he returned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any other master, in his father’s house.” 6 In the years that followed, Lievens painted large, mostly religious and allegorical scenes.
    [Show full text]
  • Festival Schedule
    T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen.
    [Show full text]
  • Rembrandt Remembers – 80 Years of Small Town Life
    Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p.
    [Show full text]
  • Measure for Measure Directed by Amanda Kellock
    The Conseil des arts de Montréal en tournée and Repercussion Theatre present Shakespeare-in-the-Park 2019 Measure for Measure Directed by Amanda Kellock “Some rise by sin, and some by virtue fall.” − Escalus, Measure for Measure Set Design Amy KEITH ▪ Costume Design Diana URIBE ▪ Lighting Design/Tour Manager Adam WALTERS Sound Design Evan STEPANIAN ▪ Movement Coach holly GRECO ▪ Shakespeare Coach Bryan DOUBT Assistant Director Rebecca GIBIAN ▪ Stage Manager Danielle LAURIN With Trevor BARRETTE ▪ Samantha BITONTI Alex GOLDRICH ▪ Colin HEATH ▪ Matthew KABWE Qianna MACGILCHRIST ▪ Anton MAY ▪ Gabriella PETROV ▪ Anne-Marie SAHEB ▪ Nadia VERRUCCI Montreal, May 30, 2019 – For the first time in its 31-year history, Repercussion Theatre is presenting William Shakespeare’s Measure for Measure for its summer tour of Shakespeare-in-the-Park. In collaboration with the CAM en tournée, visiting Montreal and surrounding area parks from July 11 to August 11, 2019. Also a first is that the text which, for the past 3 years has been translated into French and accessible on smartphones for Francophone fans of the Bard, is now available in English as well, enabling Anglophone audiences to follow the artful language, courtesy of Plank Design. “O, what may man within him hide, Though Angel on the outward side…” - Duke Vincentio, Measure for Measure Samantha Bitonti (Isabella). Photo by Valerie Baron. Measure for Measure is one of Shakespeare’s later plays, written at the start of the reign of King James, and around the same year that said monarch began work on his version of the Bible. In the play, the Duke of Vienna, concerned by his city’s moral depravity, puts his sternest deputy, Lord Angelo, in charge.
    [Show full text]
  • Achtergrondinformatie Bij De Voorstelling Rembrandt
    REMBRANDT Tafel van Vijf, 2019 ACHTERGROND EN PERSONAGES Kunst in de zeventiende eeuw Een portret van jezelf, of van je vrienden of familie is natuurlijk supermakkelijk: dat doe je met je smartphone. Die hadden ze niet in de zeventiende eeuw, maar ze hadden wel portretschilders die in opdracht en voor veel geld een (groeps)portret maakten. Dat was dus ook alleen weggelegd voor de rijken, en kon soms maanden of zelfs jaren duren om te maken. De portretten hadden eigenlijk dezelfde functies als foto’s nu hebben: om je huis mooi mee te maken, om je status mee aan te geven maar ook om de herinnering aan overleden familieleden in stand te houden. De meeste kunst werd gemaakt in opdracht. Van vrije of abstracte kunst (het tegenovergestelde van figuratieve kunst waarbij echte dingen te zien zijn) was toen nog geen sprake. Rembrandts werk viel op doordat hij beweging liet zien in zijn schilderijen. Hij schilderde geen mensen netjes naast elkaar, maar ‘in actie’, zodat het leek alsof de mensen op het schilderij niet door hadden dat ze geschilderd werden. Rembrandt maakte ongeveer 300 schilderijen. Soms deed hij wel drie jaar lang over het maken van één schilderij. Hij maakte meestal kleine schilderijen, van mensen of van natuur. Rembrandt schilderde eerst met hele donkere kleuren, maar later gebruikte hij meer kleur en werden zijn schilderijen groter. Rembrandt (gespeeld door Oscar Siegelaar) Rembrandt werd geboren in 1606 als zoon van Neeltgen en Harmen Gerritsz van Rijn. Zijn vader was een molenaar, die twee molens in Leiden had – toentertijd behoorde hij tot de gegoede middenklasse.
    [Show full text]
  • AND the JEWISH EXPERIENCE the Berger Print Collection GALLERY GUIDE
    AND THE JEWISH EXPERIENCE The Berger Print Collection GALLERY GUIDE This exhibition is organized by Westmont Ridley-Tree Museum of Art, Santa Barbara, California. The presentation of this exhibition at Telfair Museums is curated by Courtney McNeil, Chief Curator & Deputy Director for Curatorial Affairs. The works in this binder are organized alphabetically by the title of the print. An image of the work precedes the label text. All works are by Rembrandt van Rijn (Dutch, 1606–1669) unless otherwise noted. All works courtesy of the Collection of Howard and Fran Berger, Gift to the Westmont-Ridley Tree Museum of Art. Abraham and Isaac, 1645 Etching and drypoint on laid paper B.34, I/II (White & Boon only state); H. 214 Rembrandt represents the patriarch and his son just prior to Abraham’s attempt to sacrifice Isaac. Abraham is portrayed as obedient to God’s command, yet in anguish, in contrast to the young Isaac, who accepts his fate. For Christians, this scene is often interpreted as a precursor to the crucifixion of Christ in the New Testament. Within the context of Judaism, this narrative serves as a reminder of the importance of obedience to God’s will and his divine plan. This etching captures the diverse breadth of style of Rembrandt’s etched line work. His use of drypoint enhances the sense of weighty volume and velvety texture of Abraham’s and Isaac’s garments. Abraham Casting Out Hagar and Ishmael, 1637 Etching and drypoint on laid paper B.30, I/I (White & Boon only state); H. 149 Here, the beloved Jewish-Christian patriarch Abraham reluctantly exiles his first-born son, Ishmael, and the boy’s mother, Hagar.
    [Show full text]
  • AFI PREVIEW Is Published by the the AFI EU FILM SHOWCASE Auman of the European Union – Delegation of the American Film Institute
    *6'0 ! 499) $ (508 4 49+9 / 49 '%&8 &5(3 %( - . %03 8 ($ 0 && 50*,( (%*( %&' #*71 &*1%(" %"#3 *6'0 4+ CONTENTS e e e e OPENING NIGHT! e e e e 2 AFI European Union Film Showcase 9 Holiday Cinema 10 The Secret Policeman’s Film Festival 12 The 20th Washington Jewish Film Festival November 5 – 24 AFI presents the 22nd annual AFI European Union 14 LA DANSE: THE PARIS Film Showcase, a selection of top films from EU member states, including film festival award OPERA BALLET © Memfis Film; photo courtesy of IFC Films winners, box office hits and US premieres. MAMMOTH About AFI AFI thanks the cultural counselors of the EU MAMMOTH [Mammut] member states and the European Commission * THURS, NOV 5, 7:00 *; Sun, Nov 8, 5:00 Delegation in Washington, DC, for their kind Swedish writer/director Lukas Moodysson’s first foray into English-language 15 Calendar assistance and continued support of the AFI filmmaking is a film for and about the global marketplace, and the connections European Union Film Showcase. and separations it imposes on families. Gael García Bernal and Michelle Williams star as a Manhattan couple whose domestic drama has repercussions 16 Special Engagements Special thanks to Ambassador Jonas Hafström, stretching from New York to the Philippines to Thailand, and back again. Cultural Counselor Mats Widbom, and the staff DIR/SCR Lukas Moodysson; PROD Lars Jönsson. Sweden/Denmark/ of the Embassy of Sweden for their leadership Germany, 2009, color, 125 min. In English, Tagalog and Thai with English subtitles. NOT RATED S V LOOK FOR THE and invaluable support as the current holders of AFI Member passes accepted for the EU Presidency.
    [Show full text]
  • Abstracts of Amsterdam 2010 Conference Workshops
    HNA in Amsterdam - "Crossing Boundaries" Workshop Summaries Rethinking Riegl Jane Carroll [email protected] Alison Stewart [email protected] In 1902, Alois Riegl wrote the Urquelle for all subsequent studies of Northern European group portraits, Das holländische Gruppenporträt. In that work, Riegl expanded art history beyond the contemporary emphasis on formalism and stylistic evolution. Drawing upon his interest in the relationship of objects within a work, Riegl asked his readers to expand that idea to include the viewer of art as an active participant in the understanding of visual works, an element he called “attentiveness.” In short, Riegl's book crossed the accepted boundary of what art history could consider and made viewing art a living exchange between present and past, and between viewer and object. Since its publication, all who have dealt with group portraiture have had to come into dialogue with Riegl’s book. In 1999, the Getty responded to a revived interest in Riegl's theories and republished The Group Portraiture of Holland in a new translation with historical introduction by Wolfgang Kemp. This reissuing increased the accessibility of Riegl’s work and reintroduced him to new generations of art historians. Prompted by that volume, we would like to gather together a group of scholars before the extensive collection of group portraits in the Amsterdams Historisch Museum. The venue of their Great Hall seems a perfect spot in which to reexamine the larger claims of Riegl’s work, and discuss current understandings of Dutch group portraiture. In keeping with the conference theme, we will explore how this genre crosses such boundaries as public vs.
    [Show full text]