The Finding of Moses C
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110 Culture 110 Cu Ltu Re
images of orphans in fine art By Rita ANOKHIN, Yuriy KUDINOV “ONE PICTURE IS WORTH A THOUSAND WORDS,” a popular saying rphaned characters are extremely common as literary protagonists, and abandonment by par- ents is a persistent theme in myth, fairy tales, fantasy, ancient poetry, and children’s literature. We À nd orphaned heroes in sacred texts: Moses, the great prophet was abandoned in infancy; and in legends, such as that of the founding of Rome by Romulus and Remus who were reared by a she-wolf. OThe classic orphan is one of the most widespread characters in literature. For example: in the 19th century one can À nd Dickens’ Oliver Twist and David CopperÀ eld; Mark Twain’s Huckleberry Finn; and Charlotte Bronte’s Jane Eyre. In the 20th century we meet James Henry Trotter from Roald Dahl’s James and the Giant Peach; Dorothy from the Wizard of Oz; and the Harry Potter series, À rst published in 1997. So far, young Mr. Potter has been arguably the most famous character – orphaned or otherwise – of the 21st century. Authors orphan their characters in order to free them from family obligations and supervision, to force them to pursue a more interesting or adventurous life, or simply to deprive them of a more prosaic exist- ence. The removal of parents and loving guardians creates self-contained, introspective characters who strive for affection. Although orphans can be a useful literary technique, these invented lives do not reÁ ect reality. Orphaned characters in À ction are often remarkably – even unbelievably – successful, sentimental, or wise beyond their years. -
La Pittura Friulana Del Rinascimento E Giovanni Antonio
©MinisteroLa dei benipittura e delle attività culturali friulana e del turismo -Bollettino del d'Arte Rinascimento e Giovanni Antonio da Pordenone 1) Punto di partenza del linguaggio pit sata ad una muraglia da icona bizantina, torico di Giovanni Antonio da Pordenone è infissa, alla base, al di là dell'arco, men è l'idioma di compromesso, approssimati tre ne sporge, con le braccia, al di qua: e vo e instabile, dei maestri tolmezzini: il l'arco si ritaglia in un pronao ornato co cui carattere, nell'assieme, sembra · deter me un mosaico protocristiano: come uno minato da una polarità, di rado risolta di quegli «stofados» cari agli sfondi di in unità di stile, tesa tra il desiderio di Cristoforo Scacco. Anche per le pale scol fragili impostazioni spaziali, desunte da pite in legno, frutto della sua maggiore e un volgarizzato e campagnolo padovani più caratteristica attività, Domenico guar smo non ancora mantegnesco, e la per dò, più che alle zone montane, alla pia sistenza di calligrafismi gotici, rifatti di nura ed alla laguna venete: dove la sua continuo attuali dalla vicinanza, e dalla incerta simpatia d'artista di compromesso similarità di simpatie figurative, della pit si volse verso Bartolomeo Vivarini, i cui tura atesina intorno a Michele Pacher. polittici egli si sforzò a tradurre ili legno N el caposcuola Domenico da Tolmezzo, dipinto: e cosÌ venne introducendo nel nelle due sole opere pittoriche che di lui linguaggio carnico una staticità ritmica, siano rimaste: gli affreschi di S. Toscana assonnata, che contribuÌ a disciogliere la a Verona ed il polittico per il Duomo di tensione della calligrafia nordica, ed a ri Udine (1479), ora in S. -
Art Guide 2015 Columban Art Calendar Front Cover
2015 Columban Art Calendar Art Guide 2015 Columban Art Calendar Front Cover Virgin and Child (detail) by Domenico Ghirlandaio (c.1470-1475) Amongst the subjects favoured by Renaissance masters and their patrons, that of the Virgin and Child must rank as the most beloved. The archetypal image of a serene young woman embracing her child has never failed to appeal to viewers searching for reassurance or mercy. With consummate skill Ghirlandaio evokes the physical presence of the young mother, whose heavy folds of blue fabric create a protective space to enclose her son. The gold background reminiscent of heaven reminds us of the Virgin’s ancient title as “God- Bearer,” the one who made possible the Incarnation. The rock crystal mounted at the centre of the fabulous jewel had traditionally symbolized purity. Thus the magnificent object, known as a morse, which served to fasten the priest’s robe at the neck, here decorates the Virgin’s neckline. As a symbol of purity, the rock crystal alludes to a quality that both poets and theologians had long ascribed to Christ’s mother. Ghirlandaio’s artistry elevates this rather familiar image into a symbol of Mary’s archetypal role as protector and mediator. January 2015 St Paul and the Viper (detail) Mural, Canterbury Cathedral by English School (c. 1180) St Paul is remembered as a great missionary, who after his conversion preached throughout Asia Minor and as far west as Rome and Malta. This wall painting, which once decorated Canterbury Cathedral, recalls an incident recounted in Acts 28:1-6. Paul had been arrested and was on his way to Rome, where he was to be tried. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Madonna of Humility, the Blessing Christ, Two Angels, and a Donor [Obverse] C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Andrea di Bartolo Sienese, active from 1389 - died 1428 Madonna of Humility, The Blessing Christ, Two Angels, and a Donor [obverse] c. 1380/1390 tempera on panel painted surface: 28.4 × 17 cm (11 3/16 × 6 11/16 in.) overall: 30 × 18.6 × 0.8 cm (11 13/16 × 7 5/16 × 5/16 in.) framed: 52.1 x 34.3 x 7.6 cm (20 1/2 x 13 1/2 x 3 in.) Samuel H. Kress Collection 1939.1.20.a ENTRY The painting belongs to an uncommon genre of Byzantine origin of devotional icons painted on both sides. [1] It is a simplified version of the portable diptych in which, as in the example discussed here, the Madonna and Child was usually represented on the obverse, and Christ on the Cross on the reverse. [2] The peculiarity here, however, is the presentation of the Virgin according to the iconographic type of the Madonna of Humility: Mary is humbly seated on the ground instead of on a throne. Yet at the same time she is venerated as Queen of Heaven by two angels who flank her in flight, and blessed from above by the half- length figure of Christ, who appears in a trefoil, surrounded by seraphim. [3] On the reverse of the panel is an isolated image of Christ on the Cross, unattended by the usual figures of mourners, soldiers, or onlookers who allude to the event of the Crucifixion. -
The Perfect Way by Anna Bonus Kingsford and Edward Maitland the Perfect Way Or the Finding of Christ
The Perfect Way by Anna Bonus Kingsford and Edward Maitland The Perfect Way or The Finding of Christ by Anna Bonus Kingsford and Edward Maitland Published in 1888 Boston, Mass.: ESOTERIC PUBLISHING COMPANY, 478 Shawmut Avenue. (Revised and Enlarged Edition.) Page 1 The Perfect Way by Anna Bonus Kingsford and Edward Maitland AUTHORS’ EXPLANATION These lectures were delivered in London, before a private audience, in the months of May, June, and July, 1881. The changes made in this edition calling for indication, are, – the substitution of another Lecture for No. V., and consequent omission of most of the plates; the rewriting, in the whole or part, of paragraphs 6 - 8 and 28 in No. I.; 34 - 36 in No. II.; 5 - 8, 12, 13, 22, 23, 42, 43, 54, and 55, in No. IX. (the latter paragraphs being replaced by a new one); the lengthening of Appendices II, and VI; the addition of a new Part to Appendix XIII. (formerly No. IX); and the substitution of eight new Appendices for Nos:. VII., and VIII. The alterations involve no change or withdrawal of doctrine, but only extension of scope, amplification of statement, or modification of expression. A certain amount of repetition being inseparable from the form adopted, – that of a series of expository lectures, each requiring to be complete in itself, – and the retention of that form being unavoidable, – no attempt has been made to deal with the instances in which repetition occurs. PREFACE TO THE AMERICAN EDITION In presenting an American edition of THE PERFECT WAY, or, The Finding of Christ, to the reading and inquiring public, we have been actuated by the conviction that a comprehensive textbook of the “new views,” or the restored wisdom and knowledge of the ages regarding religion or the perfect life, was imperatively required, wherein the subject was treated in a manner luminous, instructive, and entertaining, and which, without abridgement, or inferiority of material or workmanship, could yet be sold at a price that would bring the work within the means of the general public. -
Title a New Proposal on the Chronological Order of the Moses
Title A new proposal on the chronological order of the Moses and Christ frescoes in the Sistine Chapel Sub Title システィーナ礼拝堂装飾壁画の 〈モーセ伝〉 と 〈キリスト伝〉 連作の制作順序について Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2019 Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.34 (2019. ) ,p.1- 26 Abstract Notes 挿図 Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10065043-2019063 0-0001 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel 1 A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel Fumika Araki Introduction In 1481, Pope Sixtus IV della Rovere (papacy: from 1471 to 1484) invited four Umbrian and Florentine painters, Pietro Perugino (c. 1450–1523), Cosimo Rosselli (1439–1507), Domenico Ghirlandaio (1449–1494) and Sandro Botticelli (c. 1445– 1510), to Rome to decorate the entire walls of the pontifical chapel taking his name, the Sistine Chapel [Fig. 1]. These painters were considered to be the most skillful artists at that time and all of them had already managed their own workshop. The walls of the chapel were horizontally divided into three registers [Fig. -
The Finding of Moses Oil on Panel 95.5 X 162 Cm (37½ X 63¾ In)
Attributed to Jacob de Backer (Antwerp 1560 - Antwerp 1590) The Finding of Moses oil on panel 95.5 x 162 cm (37½ x 63¾ in) This interpretation of The Finding of Moses is an elegant and harmonious composition. The scene depicts the discovery of the baby Moses, his mother having hidden him in the reeds by a riverbank to avoid the persecution of the Hebrews by the Pharaoh. The story is told in Exodus 2: 3-9 and narrates that one day the daughter of the Pharaoh came to bathe in the river, and having spied the basket in the reeds sent her servant woman to fetch it. Miriam, the sister of Moses, approached the Pharaoh’s daughter and offered to find a Hebrew woman to nurse the baby for her, and subsequently returned with her mother. When the child grew up, his mother returned Moses to the Pharaoh’s daughter, and he became her son. She named him Moses, ‘Because,’ she said, ‘I drew him out of the water’. Central to the composition is the seated figure of the Pharaoh’s daughter. Gracefully dressed and wearing a crown, a servant girl stands behind her, fanning her with a canopy of feathers. The Pharaoh’s daughter speaks with a woman dressed in a flowing yellow and white dress, whose cupped exposed left breast and covered head indicate that she is Moses’ mother offering to nurse the child. Between the two conversing figures a younger woman, presumably Miriam, listens intently. The baby Moses is laid down by two servant women, whilst another points to the location of his hiding. -
Tommaso Maria Conca
TOMMASO MARIA CONCA (Rome 1735 - Rome 1822) The Rest on the Flight into Egypt signed with the artist’s abbreviated first names in black chalk on the fallen stone ‘TÙM. / MAP / V.D.’ (lower right) black chalk, within black chalk framing lines 45.9 x 51.8 cm (18⅛ x 20⅜ in) Provenance: with Crispian Riley-Smith, London, acquired in 2001; Jeffrey E. Horvitz. Literature: Louis Gauffier: Le Repos en Égypt, exhibition catalogue, Musées de Poitiers, 2015, p.38, fig. 12. HE PRESENT DRAWING DEPICTS A MOMENT IN House in Villa Albani. Conca went on to become one of the better known the Holy Family’s escape from the infanticide of King Herod. decorators of the late eighteenth and early nineteenth centuries. His early The figures have obviously been resting and are now preparing works reflect a degree of research which gained him a prominent position to set off again. Joseph hails a boatman whilst gathering their as a late Rococo artist and exponent of nascent neo-Classicism. In 1775, belongings and Mary picks up her son. Details, such as the having been commissioned by Prince Marcantonio Borghese, he started Tsphinx, hieroglyphs and distant obelisk, create a setting which is overtly working at the Villa Borghese, notably in the Sala Egizia which is concerned Egyptian, whilst the Grecian style signature reflects a general interest in with the evocation of ancient Egypt. In 1786 he decorated the Sala delle the ancient world on the part of Tommaso Maria Conca. This interest is Muse at the Museo Pio-Clementino in the Vatican Palace, and the dome of confirmed by another treatment of the same subject by the artist, which is the cathedral of Città di Castello. -
San Giorgio Lettera NEW 18 UK
Lettera da San Giorgio Lettera da San Year X, n° 18. Six-monthly publication. March – August 2008 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Contents I Programmes (March – August 2008) 3 Editorial Main Future Activities 4 A series of music films “in four seasons” The Ludwig Van Picture Show. LVPS 5 Exhibition Santomaso and the abstract option 6 The Egida Sartori and Laura Alvini Early Music Seminars Johann Rosenmüller (1617-1684). Music and dissimulation in 17th-century Europe 6 Historical Studies Seminar Far from where: sensations, aspirations, directions, spaces 7 Music from Uganda Master class of xylophones, drums and dances and performance by the Ensemble “Ugandan Beat of Africa” 8 International Workshop Passions and Democracy 9 The Vittore Branca Course on Italian Civilisation Venice and Italian civilisation in the centuries of European modernisation: the 19th Century 10 A summer of music and dance from India 11 Books at San Vio 12 Collections Drawings in the Pozzi, Fissore and Donghi Collections at the Giorgio Cini Foundation 16 Projects and Research The New Exhibition Centre at the Giorgio Cini Foundation 19 Presences on San Giorgio Scepticism, mysticism and memories: the universe of Guido Piovene 21 Publications III – IV Contacts Editorial Thirty years after the death of Vittorio Cini, 2007 may be seen as the year of the symbolic completion of the work, which he began over half a century ago, to redevelop the monumental buildings on the island of San Giorgio Maggiore, now also crowned by the extraordinary “return” of the Wedding at Cana to the Palladian refectory. -
Wholly Moses – in Art, Culture and Jewish Thought Yeshiva College / Spring 2018 / Friday, 10:00Am – 12:30Pm Rabbi Meir Soloveichik and Professor Jacob Wisse
Wholly Moses – in Art, Culture and Jewish Thought Yeshiva College / Spring 2018 / Friday, 10:00am – 12:30pm Rabbi Meir Soloveichik and Professor Jacob Wisse E-mail: [email protected] E-mail: [email protected] Co-Sponsored by The Straus Center for Torah and Western Thought & Yeshiva University Museum Course Description No Hebrew biblical figure has exercised as much fascination throughout history as Moses. Prophet, leader, lawgiver, Moses is considered a precursor and model for the Pope and a revered figure within Christianity, Islam and the Abrahamic faiths. He has been a rich source of interpretation for writers, scholars and leaders across cultures, from Greek philosophers to America’s founding fathers, and disciplines, from politics to psychoanalysis. Artists from the ancient period through the Renaissance and early modern artists, from Botticelli and Michelangelo to Rembrandt and Poussin, have found in the figure and story of Moses an unparalleled, multifaceted source of visual imagery and exegesis. For Jews, Moses is, arguably, the most important biblical figure – the person who led the children of Israel from slavery in Egypt to the Promised Land and who received the Torah from God and gave it to the people of Israel. Moses is also a flashpoint of theological and philosophical debate. This interdisciplinary course explores the figure of Moses both within the context of art and visual culture and of theology and philosophy – in order to arrive at a richer understanding of Moses within history and world culture. Course Structure This course is structured thematically and chronologically. We will analyze Moses according to key themes, such as Moses as a historical figure, Moses as an intermediary between God and mankind, Moses as a prophet, Moses as teacher; and we will trace the evolution of the perception and depiction of Moses in art from the ancient to modern periods. -
Roberto Longhi and the Historical Criticism of Art
Differentia: Review of Italian Thought Number 5 Spring Article 14 1991 The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Tabbat, David (1991) "The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art," Differentia: Review of Italian Thought: Vol. 5 , Article 14. Available at: https://commons.library.stonybrook.edu/differentia/vol5/iss1/14 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. The Eloquent Eye: Roberto Longhi and the Historical Criticism of Art David Tabbat Bernard Berenson once observed that Vasari's greatest strength as a writer was that sure instinct for narrative and char acterization which made him a worthy heir of Boccaccio. Lest his readers misconstrue this appreciation of Vasari's "novelistic ten dency" as a denigration of his work when judged by purely art historical criteria, Berenson added that the author of the Lives "is still the unrivaled critic of Italian art," in part because "he always describes a picture or a statue with the vividness of a man who saw the thing while he wrote about it." 1 To a remarkable degree, these same observations may aptly introduce the work of Roberto Longhi (1890-1970),2who is often regarded by the Italians themselves (whether specialists or inter ested laymen) as the most important connoisseur, critic, and art historian their country has produced in our century.