Pallas Athene 2019-20
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Verzendlijst Scholen PO En VO Nederland
VESTIGINGSNAAM STRAATNAAM HUISNUMMER POSTCODE PLAATSNAAM Kindcentrum De Wegwijzer Harm Tiesingstraat 74 9571 AZ 2E EXLOERMOND Openbare Basisschool De Westhoek Schoolstraat 27 9571 CB 2E EXLOERMOND Basisschool De Tweeklank Albardastraat 35 7611 BE AADORP JHR Willem Versluijsschool Prelaatweg 22 4363 NE AAGTEKERKE Christelijke Basisschool de Schutse Paardelandsdrift 9 7854 PR AALDEN Openbare Basisschool De Anwende Paardelandsdrift 5 7854 PR AALDEN Wellantcollege Jac. P. Thijsselaan 18 1431 KE AALSMEER Wellantcollege 1e J.C. Mensinglaan 40 1431 RW AALSMEER Jozefschool Rooms Katholiek Basisonderwijs Gerberastraat 2 1431 SG AALSMEER Rooms Katholieke Basisschool Oosteinder Catharina-Amalialaan 66-B 1432 JT AALSMEER Triade Dreef 1-A 1431 WC AALSMEER Basisschool De Brug Catharina-Amalialaan 66-D 1432 JT AALSMEER Openbare Basisschool Samen Een Schoolstraat 15 1431 BG AALSMEER Openbare Basisschool de Zuidooster Catharina-Amalialaan 66-A 1432 JT AALSMEER Openbare Basisschool Den Boogerd Donkerstraat 17 5308 KB AALST GLD School Met De Bijbel De Burcht Oranjestraat 1-A 5308 JW AALST GLD Christelijk College Schaersvoorde voor Atheneum Havo Mavo Vbo Lwoo Slingelaan 28 7122 AW AALTEN Christelijk College Schaersvoorde voor Atheneum Havo Mavo Vbo Lwoo Landbouwstraat 1 7122 VM AALTEN Nieuw Hessen Hessenweg 4 7121 MG AALTEN Openbare Basisschool De Slinger Wehmerstraat 21 7121 DP AALTEN Christelijke Basisschool Barlo Markerinkdijk 18 7122 RK AALTEN Christelijke Basisschool De Klimop Schooldijk 21 7122 LX AALTEN Christelijke Basisschool 't Mollenveld Haartseweg -
166 Lastmaniana Door Jhr. Dr. J. L. A. A. M. VAN RYCKEVORSEL
Lastmaniana door Jhr. Dr. J. L. A. A. M. VAN RYCKEVORSEL. en gelukkig toeval deed mij in het bezit komen van een klein paneel, voorstellende Hercules, met behulp van Pallas Athene de schatten roovend uit den tem- pel van Delphi. Op den voorgrond bleek het stuk te zijn: gemerkt 1625, . Er viel geen p oogenblik aan te twijfe- len, dat dit een origineel werk was van Pieter Last- man. Onmiddellijk springt in het oog de buitengewoon knap geschilderde figuur van Hercules en het warme colo- riet, waarin het geheele werk is opgevat. Een diep azuren "Italiaansche" hemel met een wazig blauw verschiet, een goudokeren rotswand, welke den indruk wekt af te stam- men van een ateliergordijn van Rembrandt's leermees- ter, wordt omsloten door een donkeren boog in gebrande P. LAST1VIAN.HERCULES EN PALLAS. omber-tinten. Voor dezen achtergrond zij n geplaatst de beide figuren : Pallas en Hercules. Pallas, zooals zoo dikwijls bij Lastman, verraadt sterk het bekende model, maar wij nemen dit gaarne voor lief, alleen reeds om het fijne lila en diep- paarse lakrood van haar kleed. Zelden ziet men werken van dezen meester in een dergelijke rijke kleurenharmonie. (Afb. 1). Dit moet wel het door Kurt Freise in zijn boek over Lastman onder No. 108 aangegeven werk zijn, dat den schrijver slechts uit een teekening van Leonard Bramer bekend was 1). 1) K. Freise, Pieter Lastman, S. 81. 166 Hij beschrijft het als volgt: . Hercules en Pallas. In een gewelfde grot rechts een groote, bijna naakte man, die een groot bekken uitt gedreven metaal met beide handen binnendraagt. -
Rembrandt, Or the Portrait As Encounter Didier Maleuvre
1 Rembrandt, or the portrait as encounter Didier Maleuvre ‘A good painter’, says Leonardo da Vinci, ‘is to paint two main things, namely man and the workings of man’s mind. The first is easy, the second difficult’.1 As portraiture came into its own during the Renaissance, it became accepted that a good likeness alone does not make a portrait. The able painter must convey, besides mood and affect, a sense of who the sitter is: their personality and, deeper still, the sense of what it is like to exist as this person. In other words, portraiture is a matter not just of aesthetic proficiency but also of moral and psychological attunement. But how does the painter step into the sitter’s subjectivity? How does s/he paint acknowledgement? It seems the artist here must depart from the familiar province of seeming and enter the unmarked domain of being—a puzzling transition if we consider that art traditionally pairs with imagination and make- believe. In this essay, I argue that imagination isn’t an impediment to moral perception. In fact, imaginative depiction plays a crucial role in apprehending others as persons. I develop this line of argument by reflecting on a key feature of portraiture: likeness. Likeness is normally understood to be a property of a person’s appearance; but it is also 1 Leonardo da Vinci, Notebooks, London, Oxford Classics, 1980, p. 168. 15 IMAGInG IDenTITy clear that, by definition, likeness refers to a model of comparison beyond appearance proper. A person doesn’t look like herself—this is a tautology; she looks like the image of herself we mentally draw for her. -
Cheltlf12 Brochure
SponSorS & SupporterS Title sponsor In association with Broadcast Partner Principal supporters Global Banking Partner Major supporters Radio Partner Festival Partners Official Wine Working in partnership Official Cider 2 The Times Cheltenham Literature Festival dIREctor Festival Assistant Jane Furze Hannah Evans Artistic dIREctor Festival INTERNS Sarah Smyth Lizzie Atkinson, Jen Liggins BOOK IT! dIREctor development dIREctor Jane Churchill Suzy Hillier Festival Managers development OFFIcER Charles Haynes, Nicola Tuxworth Claire Coleman Festival Co-ORdinator development OFFIcER Rose Stuart Alison West Welcome what words will you use to describe your festival experience? Whether it’s Jazz, Science, Music or Literature, a Cheltenham Festival experience can be intellectually challenging, educational, fun, surprising, frustrating, shocking, transformational, inspiring, comical, beautiful, odd, even life-changing. And this year’s The Times Cheltenham Literature Festival is no different. As you will see when you browse this brochure, the Festival promises Contents 10 days of discussion, debate and interview, plus lots of new ways to experience and engage with words and ideas. It’s a true celebration of 2012 NEWS 3 - 9 the power of the word - with old friends, new writers, commentators, What’s happening at this year’s Festival celebrities, sports people and scientists, and from children’s authors, illustrators, comedians and politicians to leading opinion-formers. FESTIVAL PROGRAMME 10 - 89 Your day by day guide to events I can’t praise the team enough for their exceptional dedication and flair in BOOK IT! 91 - 101 curating this year’s inspiring programme. However, there would be no Festival Our Festival for families and without the wonderful enthusiasm of our partners and loyal audiences and we young readers are extremely grateful for all the support we receive. -
Freeing Leonardo Da Vinci's Fight for the Standard in the Hall of the Five
International Journal of Social Science Studies Vol. 5, No. 10; October 2017 ISSN 2324-8033 E-ISSN 2324-8041 Published by Redfame Publishing URL: http://ijsss.redfame.com Freeing Leonardo da Vinci’s Fight for the Standard in the Hall of the Five Hundred at Florence’s Palazzo Vecchio Antonio Cassella1 1President of Research Autism LLC (FL) and Director of Imerisya (Instituto merideño de investigación de la inteligencia social y del autismo, Mérida, Venezuela). Correspondence: Antonio Cassella, 1270 N. Wickham Rd. 16-613, Melbourne, FL, 32935, USA. Received: August 17, 2017 Accepted: September 1, 2017 Available online: September 18, 2017 doi:10.11114/ijsss.v5i10.2657 URL: https://doi.org/10.11114/ijsss.v5i10.2657 Abstract In June 2017, the author wrote an article in the International Journal of Social Science Studies in which he hypothesized that the Hall of the Five Hundred at Florence’s Palazzo Vecchio has been protecting the central piece of Leonardo da Vinci’s mural Battle of Anghiari: The Fight for the Standard (La Lotta per lo Stendardo) under Giorgio Vasari’s painting Battle of Marciano for 512 years now. On the evening of August 10, 2017, the author read a veiled message left by Vasari: The vertical line that passes through the center of the Battle of Marciano also passes through the center of the Fight for the Standard. On the evening of August 15, the author read a second secret message left by Vasari: The bottom of Leonardo’s Battle of Anghiari aligns with the floor of the Hall of the Five Hundred. -
Leonardo Da Vinci and the Persistence of Myth Emily Hanson
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2012 Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth Emily Hanson Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Hanson, Emily, "Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth" (2012). All Theses and Dissertations (ETDs). 765. https://openscholarship.wustl.edu/etd/765 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Art History & Archaeology INVENTING THE SCULPTOR LEONARDO DA VINCI AND THE PERSISTENCE OF MYTH by Emily Jean Hanson A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2012 Saint Louis, Missouri ACKNOWLEDGEMENTS I wouldn’t be here without the help and encouragement of all the following people. Many thanks to all my friends: art historians, artists, and otherwise, near and far, who have sustained me over countless meals, phone calls, and cappuccini. My sincere gratitude extends to Dr. Wallace for his wise words of guidance, careful attention to my work, and impressive example. I would like to thank Campobello for being a wonderful mentor and friend, and for letting me persuade her to drive the nearly ten hours to Syracuse for my first conference, which convinced me that this is the best job in the world. -
Belles Villes D'europe
Belles villes d’Europe – 2 nuits séjours au choix dans un hôtel 3 ou 4 comprenant 75 deux nuits avec petits-déjeuners en France et en Europe 2 personnes ‘‘ Nous vous offrons l’Europe à portée de mains. Prague, Milan, Vienne, Londres, Berlin… Nous avons sélectionné pour vous des hôtels de standing au cœur des plus belles villes européennes pour un séjour découverte. Partez en escapade pour deux jours et deux nuits à travers ces métropoles du Vieux Continent. A Athènes, vous découvrez les trésors des vestiges antiques. Cannes vous émerveille par les splendeurs de sa côte et son climat méditerranéen. Découvrez Vienne sur les rives du Danube et son riche patrimoine. D’est en ouest et du nord au sud, séjournez dans l’une des 20 destinations que nous vous proposons, et sillonnez les rues pour vous mettre dans l’ambiance de la ville de votre choix. ‘‘ Entre histoire, culture et modernité, vous allez aimer ce séjour sur mesure ! Jérémie et l’équipe Séjour COUTUMES VIENNE LONDRES MONUMENTS ÉVASION BARCELONE Votre coff ret Belles villes d’Europe - 2 nuits Un week-end sans frontières Envie de voyager sous d’autres cieux ? Smartbox® vous emmène découvrir les surprises que vous réservent les plus belles villes du vieux continent. Tour à tour romantiques, pittoresques et futuristes, les grandes cités d’Europe ne manquent pas d’atouts pour vous séduire. Par exemple… En Allemagne À Paris En plein cœur de Berlin, vous séjournerez à Profi tez du charme d’un proximité du parc hôtel*** parisien situé Humbolthain et découvrirez entre l’Opéra Garnier et le les sites incontournables de quartier de la Madeleine, la capitale. -
Annual Report 2019/2020 Contents II President’S Foreword
Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic. -
The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle
arts Article The Rediscovered Watermark in the Drawing Leda and the Swan by Raphael Kept at Windsor Castle Claudio Calì Design Department, Politecnico di Milano, 20133 Milan, Italy; [email protected] Abstract: This article presents an in-depth study of Raphael’s drawing of Leda and the Swan (RCIN 912759), preserved at Windsor Castle. The research aims to make the paper’s physical properties accessible and extend the information on the watermark. The methodology follows an artistic– design-oriented approach. The data extraction process uses a back-lighting photographic technique combined with image post-processing operations. The work catalogues in scientific terms the complete paper mould lines of the Windsor sheet according to the International Standard of Paper Classification (IPH). Based on comparisons with a series of drawings by Leonardo da Vinci, the contribution suggests a chronological and provenance estimate of the paper used by Raphael. Keywords: Raphael; Leonardo da Vinci; Leda; design; paper-based watermark; digitisation; graphical representation; image-processing; art; preservation 1. Introduction The drawing Leda and the Swan in the Royal Collection at Windsor Castle, RCIN 912759, dated 1507, is one of Raphael’s best-known mythological studies and conceivably Citation: Calì, Claudio. 2021. The among the most remarkable portraits on paper dedicated to the figure of Leda. The Rediscovered Watermark in the examination of the drawing from life came about almost by chance. A research visit to Drawing Leda and the Swan by Windsor was made to analyse the paper supports of a series of drawings made by Leonardo Raphael Kept at Windsor Castle. Arts da Vinci. -
Leonardo Da Vinci
Leonardo da Vinci From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Leonardo_da_Vinci This is a Renaissance Florentine name. The name da Vinci is an indicator of birthplace, not a family name and the person is properly referred to by the given name Leonardo. Leonardo da Vinci Portrait by Francesco Melzi Born Lionardo di ser Piero da Vinci[1] 15 April 1452 Vinci, Republic of Florence(present-day Italy) Died 2 May 1519 (aged 67) Amboise, Kingdom of France Known for Art, science Works • Mona Lisa • The Last Supper • Salvator Mundi • The Vitruvian Man • Lady with an Ermine Movement High Renaissance Signature Leonardo di ser Piero da Vinci (Italian: [leoˈnardo di ˌsɛr ˈpjɛːro da (v)ˈvintʃi] ( listen); 15 April 1452 – 2 May 1519), more commonly Leonardo da Vinci or simply Leonardo, was an Italian polymath of the Renaissance whose areas of interest included invention, painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, and cartography. He has been variously called the father of palaeontology, ichnology, and architecture, and he is widely considered one of the greatest painters of all time. Sometimes credited with the inventions of the parachute, helicopter, and tank,[2][3][4] he epitomised the Renaissance humanist ideal. Many historians and scholars regard Leonardo as the prime exemplar of the "Universal Genius" or "Renaissance Man", an individual of "unquenchable curiosity" and "feverishly inventive imagination",[5] and he is widely -
Review2003/2004
NPG_AR_04_text.film 10/12/05 9:52 AM Page 1 Review 2003/2004 2 Preface by the Chairman of the Trustees 3 Foreword by the Director 4 The Collections 8 Photographs Collection 10 Heinz Archive and Library 12 Conservation 14 The Galleries 16 Exhibitions 18 Education 20 Partnerships and National Programmes 24 Information Technology 26 Visitors 28 Trading 30 Fundraising and Development 36 Financial Report 40 Research 42 List of Acquisitions 48 Staff The Regency in the Weldon Galleries © Andrew Putler Front cover Mary Moser by George Romney, c.1770–71 Back cover David David Beckham by Sam Taylor-Wood, 2004 © the artist NPG_AR_04_text.film 10/12/05 9:52 AM Page 2 This Review records another highly successful During the year we welcomed two new Trustees, 2 year for the Gallery under the energetic leadership Amelia Chilcott Fawcett, an investment banker, and comprehensive management approach of recently appointed to chair our Development Sandy Nairne in his first full year as our Director. Board, and Professor Robert Boucher, an engineer and Vice-Chancellor of Sheffield University. We have continued to develop the collection We lost an ex-officio Trustee with the tragically with some outstanding acquisitions and untimely death of Lord Williams of Mostyn. exciting commissions. Three of the galleries, He has been succeeded by Baroness Amos, the refurbished Weldon Regency Galleries, the Lord President of the Council. Tudor and the Early Twentieth Century Galleries, were imaginatively rehung, while the frequent We relish and revel in our responsibility to rotation of portraits in the Contemporary build and exhibit a collection of portraits of Galleries continues to attract wide approval. -
De Lairesse on the Theory and Practice Lyckle De Vries
NEW PUBLICATION How to create beauty De Lairesse on the theory and practice Lyckle de Vries Gerard de Lairesse (1641-1711) was the most of drawing (1701) and a manual on painting successful Dutch painter of his time, admired (1707). The latter, the Groot Schilderboek, is by the patricians of Amsterdam and the court the subject of this fine new study by art histo- of William III of Orange. An eighteenth-cen- rian Lyckle de Vries. Among De Vries’s earlier tury critic called him ‘undoubtedly the greatest publications are a monograph and a number genius there ever was in painting’. After a cen- of articles on De Lairesse, his paintings, his tury of neglect his rehabilitation began in 1970 work for the theatre and his writings. when the Amsterdam Rijksmuseum acquired a De Vries found that Gerard de Lairesse’s series of his monumental grisaille paintings. In treatise (‘offering thorough instruction in an international exhibition (Cologne, Cassel, the art of painting in all its aspects’) is not Dordrecht 2007) he was presented as the primarily a discourse on the theory of art, leading artist of his time, the last quarter of the but a practical manual for young painters. seventeenth century. As part of this rehabili- It probably was meant as a course for self tation process, interest in his writings also in- study. In view of the fact that the author was creased. De Lairesse wrote a booklet on the art highly critical of the training methods of his contemporaries, it is not so surprising that he put pen to paper to explain how the mind and hand of a young painter should cooperate in order to turn a mental image into a beautiful picture.