Counter-Reformation and Baroque
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Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio. -
The Crusade of Andrew II, King of Hungary, 1217-1218
IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land. -
What Was 'The Enlightenment'? We Hear About It All the Time. It Was A
What Was ‘The Enlightenment’? We hear about it all the time. It was a pivotal point in European history, paving the way for centuries of history afterward, but what was ‘The Enlightenment’? Why is it called ‘The Enlightenment’? Why did the period end? The Enlightenment Period is also referred to as the Age of Reason and the “long 18th century”. It stretched from 1685 to 1815. The period is characterized by thinkers and philosophers throughout Europe and the United States that believed that humanity could be changed and improved through science and reason. Thinkers looked back to the Classical period, and forward to the future, to try and create a trajectory for Europe and America during the 18th century. It was a volatile time marked by art, scientific discoveries, reformation, essays, and poetry. It begun with the American War for Independence and ended with a bang when the French Revolution shook the world, causing many to question whether ideas of egalitarianism and pure reason were at all safe or beneficial for society. Opposing schools of thought, new doctrines and scientific theories, and a belief in the good of humankind would eventually give way the Romantic Period in the 19th century. What is Enlightenment? Philosopher Immanuel Kant asked the self-same question in his essay of the same name. In the end, he came to the conclusion: “Dare to know! Have courage to use your own reason!” This was an immensely radical statement for this time period. Previously, ideas like philosophy, reason, and science – these belonged to the higher social classes, to kings and princes and clergymen. -
Anglo-Dutch Relations, a Political and Diplomatic Analysis of the Years
1 ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 ’’Nations have no permanent friends or allies, they only have permanent interests’’ Lord Palmerston Britain’s Prime Minister 1855 and 1859-65 Anton Poot, M.A. Royal Holloway University of London March 2013 Supervised by Professor Pauline Croft, MA (Oxon) DPhil. FSA FRHistS, to be submitted in fulfilment of the degree of Doctor of Philosophy Declaration: I hereby declare that the work presented in this thesis, ANGLO-DUTCH RELATIONS A Political and Diplomatic Analysis of the years 1625-1642 is my own. Signed: Name: Anton Poot Date: 2013 For my wife Jesmond 2 ABSTRACT The aim of this thesis is to analyse Anglo-Dutch relations in this highly volatile period, as perceived and interpreted by both sides, and it also closes the gap between the notable theses of Grayson1 and Groenveld2. On 23 August 1625 Charles I and the Dutch Republic concluded a partnership agreement for joint warfare at sea and a month later a treaty for war against Spain. In December 1625 England, Denmark and the Republic signed treaties to establish the nucleus of an alliance against the Austrian Habsburgs. Charles wanted an active role in continental politics. Also to compel Spain to support his aim to restore his exiled sister Elizabeth and husband Count Elector Frederick V to their Palatinate estates and Frederick to his Electoral dignities in the Empire. The Dutch wanted England as an active partner in their war with Spain. It was a partnership of convenience, with different objectives but with the intention that success would serve the interests of both. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 46100 I I
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Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Riegl, Alois. the Origins of Baroque Art in Rome. Ed. and Trans. Andrew Hopkins and Arnold Witte
296 book reviews Riegl, Alois. The Origins of Baroque Art in Rome. Ed. and trans. Andrew Hopkins and Arnold Witte. Texts and Documents. Los Angeles: Getty Research Institute, 2010. Pp. x, 279. ISBN 978-1-60606-041-4 (paperback) $50. The translation into English of Alois Riegl’s final book, Die Entstehung der Barockkunst in Rom, is certain to be embraced with enthusiasm by specialists and students of art history and the Baroque alike. Those familiar with Riegl’s work in the field of Baroque studies will appreciate the renewed attention given to this important text while English-speaking newcomers will no doubt welcome the opportunity to access the late ideas of this pioneer of the Vienna School. Riegl is of course best known for his influential theory of Kunstwollen, first projected in his groundbreaking Stilfragen of 1893. Yet in The Origins of Baroque Art in Rome this theoretical concern is largely set aside in order to privilege discussion of singular works. To some extent this may be attributed to the fact that the text, first published posthumously in 1908, derives from the incomplete lecture notes compiled by Riegl during his tenure at the University of Vienna. The emphasis here is on example and though the book seeks to adumbrate the stylistic changes that took place in Italian art between 1520 and 1610 it does so principally through the close formal analysis of select works, many of which will surprise by their appearance in a discussion on Baroque art. For in Riegl’s view the Italian Baroque finds its earliest expression not in the familiar late sixteenth-century paintings of the Bolognese school or the Roman works of Maderno and Caravaggio but in the shifting styles of the mature artists of the Renaissance including Michelangelo and Correggio. -
Baroque Architecture Through a Century of Art Historiography and Politics
From ‘bad’ to ‘good’: Baroque architecture through a century of art historiography and politics Review of: Evonne Levy, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr, 400 pp., 42 ills, Basel: Schwabe, 2015. € 68, ISBN 978-3-7965-3396-9 Marco M. Mascolo Among the theoretical patterns that shaped art history between the nineteenth and twentieth century, formalism has undoubtedly a central place, with the turning point of Heinrich Wölfflin’s publication of the Kunstgeschichtliche Grundbegriffe (Principles of Art History) in 1915, which offered practical tools to interpret works of art on the basis of the historical forms of sight.1 One of the crucial contributions of early twentieth-century German formalist scholars was the creation of the conditions to reconcile modernity with the Baroque. Directing her attention to the architectural historiography of the Baroque from 1845 to 1945, Evonne Levy points out that ‘political circumstances pressed those who studied the history of art to compare that epoch [i.e. the seventeenth century] to their own’.2 The temporal frame defines a century that had, at its beginning, Jacob Burckhardt’s entry ‘Jesuitenstil’ for the ninth edition of the Conversations-Lexikon3 (chapter one) and, at its end, the downfall of Hitler’s Third Reich, with the consequent scrutiny on methods compromised with the National Socialist regime, as in the case of art-historical works of Albert Erick Brinckmann (chapter four) and the Austrian Hans Sedlmayr (chapter five).4 In the middle, the book follows the ideas of two of the most important baroquists of the first half of the twentieth century: Heinrich Wölfflin (chapter two) and Cornelius Gurlitt (chapter three). -
World History
World History Social Science Grade(s) 10th - 12th, Duration 1 Year, 1 Credit Required Course Course Overview This class will continue to build upon the basic social studies concepts that were introduced in Foundations of Social Studies. A broad and interpretive view of the history of the world will be introduced with a special emphasis put on the effects as seen in modern history. Points of emphasis will be the Ancient Civilization of Greece, Development of Society during the Middle Ages (900-1400), the Rebirth of Learning during the Renaissance and Reformation, the Global Age of Exploration (1400-1750), the Age of Enlightenment, and the Age of Revolutions (1650-1920). Students will be expected to read and interpret outside sources of historical information including significant historical documents, historical periodicals, and internet research. Active participation in several extension activities will be required in order for the student to grasp and understand each historical landmark being presented. Homework will vary with each topic being presented, but students will be required to read materials that will significantly enhance their understanding of the history of the world. Scope And Sequence Timeframe Unit Instructional Topics 7 Week(s) Ancient Greece 1. Early Greek city-states 2. Greek politics 3. Greek Government and society 4. Greek culture 3 Week(s) The Middle Ages 1. Feudalism 2. The Age of Chivalry 3. The Power of the Church 4. The Formation of Western Europe 5. Changes in the Medieval Society 6. The Development of England and France 7. The Hundred Years' War 2 Week(s) The Crusades 1. -
Neoclassical Architecture 1 Neoclassical Architecture
Neoclassical architecture 1 Neoclassical architecture Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece and the architecture of Italian Andrea Palladio. The Cathedral of Vilnius (1783), by Laurynas Gucevičius Origins Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility. Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque. Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Pulteney Bridge, Bath, England, by Robert Adam Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer. -
ENGLISH NAVAL STRATEGY INTHE 1590S
ENGLISH NAVAL STRATEGY INTHE 1590s SIMÓN ADAMS Profesor de Historia de la Universidad de Strathclyde Until quite recently, the Anglo-Spanish "War" in the period after the Armada of 1588 was one of the least studied subjects of the reign of Elizabeth. For many years, the standard narrative account of the 1590s was that published by the American historian E.P. Cheyney in two volumes in 1914 and 1926 (1). In the past decade, however, this situation has been transformed. Professor Wernham's edition of the List and Analysis ofState Papers Foreign Series (2) has been followed by his detailed study of military operations and diplomacy in the years 1588-1595 (3), and then by his edition of the documents relating to the "Portugal Voyage" of 1589 (4). Within the past two years, Professor MacCaffrey has published the final volume of his trilogy on Elizabeth's reign and Professor Loades his monograph on the Tudor Navy, while Dr. Hammer has completed his dissertation on the most controversial of the political figures of the decade, the 2nd Earl of Essex (5). Much therefore is a good deal clearer than it has been. Yet wider questions remain, particularly over the manner in which Elizabeth's government conducted the war with Spain. In their most recent work both Wernham and MacCaffrey argüe from positions they have established earlier: Wernham for a careful and defensive foreign and military policy, MacCaffrey for an essentially reactive one (6). This is a debate essentially about the queen herself, a particulary difficult The place of publication is understood to be London unless otherwise noted. -
Chapter 26 Rococo to Neoclassicism: the 18Th Century in Europe And
Chapter 26 Rococo to Neoclassicism: The 18th Century in Europe and America Social, political, economic, and technological change, as well as transformation in the arts. In 1700 Louis XIV still ruled as Sun King at Versailles. His palace inspired construction of many grandiose homes in the early 18th century. By 1800 revolutions had overthrown monarchy in France and achieved independence in America from Britain. Industrial Revolution transformed economies. Death of Louis XIV in 1715 – elite abandoned court of Versailles and resided in hotels (townhouses) of Paris, decorated in ligg,hthearted, softer Rococo style. Aristocrats reestablished predominance as art patrons. The Rococo style was replaced by the Neoclassical, which was perceived as more democratic Enlightenment brought about a rejection of royal and aristocratic authority Neoclassicism was inspired by the unearthing of the ruins at Pompeii. Even if works of art depict current events or contemporary portraits, there are frequently classical allusions. The late eighteenth century was the age of the Industrial Revolution: new technologies such as cast iron were introduced into architecture, and for the first time it became more economical to carve from bronze than marble. 3 Rocaille (pebble) – small stones and shells that decorated grotto interiors (natural or man-made caves). Shell forms – principal motifs in Rococo ornamentation. Women dominated cultural sphere and held influential positions in Europe. Rococo salons –center of Parisian society Wealthy, ambitious, clever society hostesses, referred to as femmes savants (learned women) competed to attract most famous and accomplished people to their salons. More intimate and decentralized culture based in private homes. Rococo interiors were total works of art with elab orat e furnishings – ceramics, silver, small ppgaintings and tapestries.