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Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk -
A Bestiary of the Arts
LA LETTRE ACADEMIE DES BEAUX-ARTS A BESTIARY OF THE ARTS 89 Issue 89 Spring 2019 Editorial • page 2 News: Annual Public Meeting of the Five Academies News: Installations under the Coupole: Adrien Goetz and Jacques Perrin News: Formal Session of the Académie des beaux-arts • pages 3 to 7 Editorial The magnificent Exhibition: “Oriental Visions: Cynocephalus adorning the cover of this edition of From Dreams into Light” La Lettre emanates a feeling of peaceful strength Musée Marmottan Monet true to the personality of its author, Pierre-Yves • pages 8 and 9 File: Trémois, the oldest member of the Académie des Beaux-Arts after being elected to Paul Lemangy’s “A bestiary of the arts” seat on 8 February 1978. • pages 10 to 34 Through the insatiable curiosity and astounding energy that he brings to the table at the age of News: “Concerts for a seat” ninety-eight, Pierre-Yves Trémois shows us Elections: Jean-Michel Othoniel, the extent to which artistic creation can be Marc Barani, Bernard Desmoulin, regenerative, especially when it is not seeking to conform to any passing trend. News: The Cabinet des estampes de la In May 2017 we elected forty-three year-old composer Bruno Mantovani to Jean bibliothèque de l’Institut Prodromidès’ seat. Tribute: Jean Cortot Watching the two passionately converse about art, we realized that the half • pages 35 to 37 century separating them was of no importance. The Académie des Beaux-Arts is known for the immense aesthetic diversity Press release: “Antônio Carlos Jobim, running throughout its different sections. highly-elaborate popular music” This reality is in stark contrast with academicism. -
2007 Newsletter
Spring 2007 Collecting China Interdisciplinary symposium expands dialog on Chinese art objects The Newsletter of the University of Delaware Department of Art History 1 Contents Spring 2007 Editor in Chief and Photo Editor: From the Chair From the Chair | 3 Undergraduate Student Linda Pellecchia News | 15 Titles Editor: David M. Stone No doubt, you’ve noticed that the Art History newsletter has changed its Art History Club | 15 Art Director: Don Shenkle look and now has a name, Insight. The department, launched more than Undergraduate Awards | 15 Editorial Coordinator: forty years ago, has fl ourished and Insight allows us to spread the news Connee McKinney of our extraordinary record of accomplishments. Some news builds on Secretarial Assistance: Eileen Larson, traditional strengths. Other items refl ect exciting new directions. Our Deb Morris, Tina Trimble focus on American art will expand next year with the arrival of a new Graduate Student News | 16 “Collecting ‘China’” — Insight is produced by the Department colleague in the history of African American art and another in the 19th An International Gem | 4 Graduate Awards | 16 of Art History as a service to alumni and 20th-century art of the United States. Our curriculum has, on the Graduate Student News | 16 and friends of the Department. We are other hand, expanded globally beyond America and Europe. We now Graduate Degrees Granted | 17 always pleased to receive your opin- teach the arts and architecture of Africa, Asia, and Latin America. Art News from Alumni | 18 ions and ideas. Please contact Eileen History undergraduate and graduate students have garnered prestigious Larson, Old College 318, University of grants and awards. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
All at Sea: Romanticism in Géricault's Raft of the Medusa
All at Sea: Romanticism in Géricault's Raft of the Medusa Galven Keng Yue Lee All at sea. We – receptacles, tentacles Of ingestion and Assemblage. A mass of ever-dying, ever-living Vapid waves. All at sea. ~ Galven Keng Yue Lee Plate 1: Théodore Géricault, Raft of the Medusa, 1819, oil on canvas, 491 x 716 cm. Source: Musée du Louvre, Paris. Fair use is claimed for not-for-profit educational & scholarship purposes. Abstract Théodore Géricault’s painting, Raft of the Medusa, has long been regarded as a quintessentially Romantic painting. Yet it was unprecedented when it was exhibited at the 1819 Salon by its raw and direct appeal to the viewer’s 1 The ANU Undergraduate Research Journal emotions, and represented an early stage in French Romantic painting. In this paper, I argue that the painting was an original, logical outcome of the social and political turbulence that plagued French society in the early nineteenth century and which also impinged itself on the personal circumstances of Géricault’s life. It is through this general malaise and sense of crisis that the painting can not only be seen as an authentic product of its time, but also one that reflected the distinctly personal nature of the Romantic painting, through the intense personal involvement and identification of Géricault with its creation and subsequent legacy. Romanticism in Géricault’s Raft of the Medusa Théodore Géricault’s Raft of the Medusa is a stunning piece that strikes the viewer with its intense, emotional representations of hope and hopelessness. The pointless suffering of the denizens of the raft eradicate any pretensions to heroic achievement or tragic sacrifice; only the surging waves of the ocean respond without sympathy to their cries for salvation from a suffering which has only brought them to the pits of unheroic despair—drawing us within the vacant expression of the older man in the left foreground clutching onto the limp body of a younger male, possibly his son. -
The Raft of the Medusa the Story of a Painting, the Painting of a Story
The Raft of the Medusa The story of a painting, the painting of a story Scheme of Work Suitable for KS4 pupils Written and Designed by David Herbert Drama and Education Consultant [email protected] [Image of The Raft of the Medusa available at <www.louvre.fr/en/oeuvre-notices/raft-medusa>] [For copyright reasons some visual images included in the original Resource Pack have been omitted here.] Contents Introduction..................................................................................p.3 Aims of the Scheme.....................................................................p.4 Tasks............................................................................................p.4 • The word “trapped” • Outline of story • Stages of Degeneration • Props • Lyrics to the song • News report Evaluation....................................................................................p.8 The Written Portfolio....................................................................p.9 Sources......................................................................................p.10 • The Raft of the Medusa story • Stages of Degeneration Portfolio Worksheets..................................................................p.13 • Drama Coursework – Stages of Degeneration • Storyboarding • Trapped evaluation Skills to allow students to explore in more depth.......................p.17 Reading List...............................................................................p.18 2 Introduction This scheme of work has been written and designed -
Wreck: Gericault and the Body in Pieces
Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9. -
(Re)Envisioning Orientalist North Africa: Exploring Representations Of
intersections online Volume 11, Number 2 (Autumn 2010) Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107. ABSTRACT This article explores the politics and aesthetics of “authenticity” in artistic representations of Morocco from the mid-nineteenth century to the present day. Through an analysis of the evolution of European and North African artistic depictions of the Maghreb, I examine how the desire for cultural authenticity in representation has influenced the production and consumption of artistic depictions of this region. Three thematic questions emerge: Who are the objects and what are the objectives of traditional and potentially Orientalist paintings? How do identity politics affect the work of post-modern artists from North Africa who reject the Orientalist stereotypes and traditions of European painters? And what do purchases of art, commercial and avant-garde, say about what is popular or accurate? I begin by discussing nineteenth-century French painter Eugène Delacroix’s paintings of Morocco and Algeria, and the real and perceived authenticity of these works. Next, I study the effects of Delacroix’s “authentic” paintings on artists of European and North African origin, including Matisse, Picasso, Mahieddine, Niati, and others. Finally, by means of interviews conducted during a recent trip to Fes and Tangier, I explore the marketing of traditional cultural experiences to visitors as authentic and the ways in which both Moroccans and tourists literally buy into these ideas. By putting artists and consumers from different time periods and regions into virtual dialogue with each other, this project illustrates the complex ways in which we construct and continually revise notions of authenticity. -
A.P. Art History Simplified Timeline Through 1900 Note: These Are Approximate Dates
Marsha K. Russell 1 St. Andrew's Episcopal School, Austin, TX A.P. Art History Simplified Timeline through 1900 Note: These are approximate dates. Remember periods and styles overlap. Prehistory Paleolithic: up to about 10,000 BCE • Venus/Goddess of Willendorf • Lascaux Cave Paintings • Altamira Cave Paintings Neolithic in England: about 2,000 BCE • Stonehenge Mesopotamia/Near East (ignore time lapses) Sumerian: ~3500 - 2300 BCE • Standard of Ur • Ram offering stand • Bull-headed lyre • Bull holding a Vase • Ziggurats Akkadian: ~2300 - 2200 BCE • Victory Stele of Naram-Sin Neo Sumerian: ~2200 - 2000 BCE • Gudea statues Babylonian: ~1900 - 1600 BCE • Stele of Hammurabi Assyrian: ~900 - 600 BCE • Lamassu (Winged Human-Headed Bull) • Lion Hunt Bas Reliefs Egypt Predynastic: 3500 - 3000 BCE • Palette of Narmer Old Kingdom: ~3000 - 2200 BCE • Khafre • Menkaure and Khamerernebty • Seated Scribe • Ti Watching a Hippo Hunt • Prince Rahotep and his wife Nofret • Pyramid of King Djoser by Imhotep Middle Kingdom: ~2100 - 1600 BCE • Rock-cut tomb New Kingdom: ~1500 - 40 BCE (includes the Amarna Period 1355 – 1325 BCE) • Funerary Temple of Hatshepsut • Temple of Ramses II • Temple of Amen-Re at Karnak • Akhenaton • Akhenaton and His Family Marsha K. Russell 2 St. Andrew's Episcopal School, Austin, TX Aegean & Greece Minoan: ~2000 - 1500 BCE • Snake Goddess • Palace at Knossos • Dolphin Fresco • Toreador Fresco • Octopus Vase Mycenean: ~1500 - 1100 BCE • "Treasury of Atreus" with its corbelled vault • Repoussé masks • Lion Gate at Mycenae • Inlaid dagger -
Un Cuadro, Una Silla Uncuadrounasilla.Wordpress.Com
Un cuadro, una silla uncuadrounasilla.wordpress.com By Rubén Cervantes Garrido Crevices of modernity 13 March 2016 I arrived at the Ingres exhibition at the Prado with my eyes wide open, willing to arrive at an idea of the artist I could fully call my own; an idea which would fix his position in my particular history of art, that history which is every aficionado’s own, made according to personal taste and experience; a history that, however similar to the one in books, is never entirely like it. I looked at things I liked and things I didn’t, what seduced me and what left me indifferent, and I reached the conclusion that Ingres is one of the strangest artists there are. Having previously discarded the easy accusations of academic and cold painter, I searched for an Ingres who some of my professors at university had argued was one of Picasso’s greatest references. It’s easy to imagine Ingres as the Academy’s pet, the incarnation of a dying style among the Gériaults, Delacroix and Courbets. He received accusations of being old-fashioned as early as 1806 (he was twenty-six) when the critics defined his monumental Napoleon I On His Imperial Throne as “Gothic”. There is an Egyptian-like severity in this Napoleon, though its obsessive eye for detail reminds one, as Robert Rosenblum so accurately observed, to the Van Eycks’ God the Father in the Ghent Altarpiece. Before such a painting, with its impressive height and width, taste is a minor matter. I don’t know why there is a railing protecting it at the Prado, but it makes it look like the entrance to a private chapel in a church, enhancing its authority. -
France) Tel: +33.(0)6.60.62.61.90 [email protected]
120, rue des rosiers 93400 Saint Ouen (France) tel: +33.(0)6.60.62.61.90 [email protected] The Westerners interest for Orient, known as Orientalism, have its roots during the 17th century, but is on the increase during the 19th century thanks to the transport development among other things. Orientalism soon inspires all forms of art and attracts artists belonging to very different currents as it answers to several aspirations. If the movement knows a big fortune in Art, it is primarily related to political events. Napoleonic conquests, first, give the new vision of an Orient as source of a certain knowledge. Artists, like Vivan Denon, accompany expeditions and bring back studies and notebooks with new motifs. A wave of Egyptomania arises from these conquests and imprints the Empire style. At the same time, the decline of the Ottoman Empire is at the heart of the European news and the Greek War of Independence stirs up from 1821 an important philhellene movement, especially in France, which agitates public Vivan Denon (1747-1825), Interior of the Temple of Apollinopolis in opinion outraged by the fate of the insurgents, and contributes both to the political debate and to an unprecedented Etfoù, drawing by Denon, engraving by Baltard, Travels in Upper artistic craze for the Orient. The motif of the Ottoman soldier thus becomes a recurring motif in painting. The and Lower Egypt, pl.57, 1802. young generation of Romantics is involved in the debate with Victor Hugo and Lord Byron and the taste for foreign lands becomes a possible answer to their wealth and diversity quest. -
A CRITICAL READING of the OTTOMAN-TURKISH HAMMAM AS a REPRESENTATIONAL SPACE of SEXUALITY (1) Burkay PASİN*
HAMMAMMETU JFA 2016/2 AS A REPRESENTATIONAL SPACE OF SEXUALITY DOI:METU 10.4305/METU.JFA.2016.2.9 JFA 2016/2 121 (33:2) 121-138 A CRITICAL READING OF THE OTTOMAN-TURKISH HAMMAM AS A REPRESENTATIONAL SPACE OF SEXUALITY (1) Burkay PASİN* Received: 20.10.2014; Final Text: 28.04.2016 INTRODUCTION Keywords: Ottoman-Turkish hammam; representation; representational space; In October 2011, an article on hammam culture was published in the spatial practice; sexuality. popular magazine National Geographic Türkiye. The article, entitled 1. This paper is based on the author’s PhD “Hammam: Mental and Bodily Refinement” (Hamam: Ruhsal ve Bedensel thesis completed under the supervision Arınma), was written by the Turkish journalist Hülya Vatansever in an of Prof. Dr. Belgin Turan Özkaya in 2014. However, additional data and references autobiographic style, introducing traditional bathing rituals and bathing have been used to extend the scope of the objects as well as the spatial ambience of hammams. The article was based paper and to support the main argument. on direct experiences of the author and supported with historical and 2. The marble platform placed in the centre mythical background. of a hammam, also known as the belly stone 3. The marble basin placed by the walls of a What is critical about this article is not merely the populist language of hammam for private bathing the text itself, which intends to attract a wide readership of such a popular publication, but, in particular, the use of visual materials, which add an acceptable degree of sexuality and eroticism. The cover page of the issue showed the painting “The Women’s Bath” (1889) by the French Orientalist painter Jean-Léon Gérome, which depicts a naked white woman sitting on a wooden bench in the foreground and two other sitting by the pool just behind her.