To Theo Van Gogh. the Hague, on Or About Saturday, 21 April 1883

Total Page:16

File Type:pdf, Size:1020Kb

To Theo Van Gogh. the Hague, on Or About Saturday, 21 April 1883 To Theo van Gogh. The Hague, on or about Saturday, 21 April 1883. on or about Saturday, 21 April 1883 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b303 V/1962 Date: The letter comes after letter 336 of on or about Wednesday, 11 April 1883 because Theo must have responded to Vincents remarks about the widow of Frans Soek and her mother in letter 336. Since Vincent says thanks for the money received, it must be assumed that this was the next remittance, that of 20 April. We therefore date the letter on or about Saturday, 21 April 1883. Additional: Original [1r:1] Waarde Theo, Dank voor Uw schrijven, dank voor het ingeslotene. Uw brief las ik met veel belangstelling. Ik ben blij dat gij juist inziet van welken kant waarschijnlijk moeielijkheden zullen komen. N.l. dat zonder t expres te doen vrouwen als bij S.1 (ge zegt teregt ze echter op zich zelf goed zijn) weinig voorzigtig zijn in wat ze zeggen enz. Als ge met een woord spreekt over eene relatie tusschen Uw patient & hare eigene moeder2 zoo is dat iets waar ik U ook niet mede feliciteer. Ik vrees aan die band zal zij menigmaal achteruit getrokken worden als gij haar vruitgang zoekt te bewerken. Alleen het is niets ongewoons. Het is echter wel eene treurige gedachte dat iets als eene relatie tusschen moeder en dochter een donkeren kant kan hebben. Zoo dat een man die licht liefheeft en het zoekt er fataal door gedwarsboomd kan worden. Door den invloed van 1 The widow Soek and her mother; cf. letter 336, n. 14. 2 Neither Marie3 nor her mother has been identified. 1 2 To Theo van Gogh. The Hague, on or about Saturday, 21 April 1883. moeder en den omgang met vriendinnen misschien meer dan door iets anders komt er in de vrouwen soms iets wat men retrograde noemt4 en hervormingen in denken en doen soms noodig en dringend noodig belemmerd. Ik ben er blij om dat gij met regt voorziet wat misschien U te wachten staat van dien kant maar ik ben er niet blij om dat dit U niet bespaard werd was de vrouw geheel van haar familie af, gij zoudt minder bezwaren in de toekomst te wachten hebben geloof ik.[1v:2] En de moeielijkheid ligt juist daarin dat men onmogelijk precies berekenen kan in welken vorm de bezwaren zullen komen en bij t nemen van voorzorgsmaatregelen soms denken moet, ja maar t kan best zijn ik precies tegenovergestelde manoeuvres zal moeten doen. Er is ergens in eene voorrede van Zola een woord, ik meen in dezen vorm, Ces femmes ne sont cependant pas mauvaises, limpossibilit dune vie droite dans les commrages et les mdisances des faubourgs est la cause de leurs fautes & de leurs chtes. 6 Als er zooveel ontwikkeling in de vrouw is dat in gedachten en begrippen zij U volgen kan en dus in Uw gemoedsleven deelen kan, zoo wordt dat een sterke band die veel bezwaren neutraliseert. In het aanknoopen van relaties met haar familie zou ik meenen t bezwaar te voorzien was dat men daardoor soms in t officieele vervalt (de lui nemen t z op soms, zeer indiscreet) waar men meer priv en niet officieel t bedoeld had. Doen & zwijgen zijn niet de bedoelingen van iedereen en sommige oudere & wijzere familieleden vervallen zoo ligt in t lawaaimaken dat men er spijt van hebben kan hen gesproken te hebben. Juist ook omdat zij t niet laten kunnen te intrigueeren en [1v:3] enfin het zijn waarschijnlijk wolven . 8 Ik wou we niet zoo ver van elkaar waren. ik schreef U gisteren meer uitvoerig over sommige moeielijkheden waarmee misschien gij binnenkort te maken zult hebben maar het is t gevoel dat ik zelf ook niet weet soms hoe er door te komen dat me terughield van te schrijven. 9 Bovendien ik heb t vertrouwen dat liefde waar ze opregt is 4 Van Gogh is referring here to Michelet5. In Lamour he wrote of the married woman: she is almost always brought up by her mother to have reactionary ideas (presque toujours elle est leve par sa mre dans les penses rtrogrades) (Michelet, Lamour, p. 167). There is a similar passage in La femme on the danger that a woman can lapse into a reactionary past (pass rtrograde). She hinders the progress of her husband, who is stifled by the old family home (le vieux foyer de famille) (Michelet 1863, pp. 12-13). Van Gogh expresses this view in similar phrasing in letter 349. 6 Van Gogh is referring here to the following passage from the Prface to Zola7s Lassommoir , dated 1 January 1877: We must by no means conclude that the people in its entirety is bad, because my characters are not bad, they are merely ignorant, and ruined by the world of harsh toil and misery in which they live. (Il ne faut point conclure que le peuple tout entier est mauvais, car mes personnages ne sont pas mauvais, ils ne sont quignorants et gts par le milieu de rude besogne et de misre o ils vivent). See Zola 1960-1967, vol. 2, p. 374. Also quoted in letter 379. For the novel, see letter 338, n. 12. 8 Possibly an allusion to Homo homini lupus (Man is like a wolf to his fellow man); after Plautus, Asinaria, 495. 9 Van Gogh appears in view also of ll. 62-63 to mean that he had started a letter but did not send it. To Theo van Gogh. The Hague, on or about Saturday, 21 April 1883. 3 niet vergaat, althans dan niet waar tegelijk men met rede handelt. Toch, ik zou dat ook weer willen doorschrappen omdat het niet juist is. want liefde kan betrekkelijk wel degelijk vergaan doch er is iets van een kracht van renaissance in de liefde. Ce que lhomme tue , Dieu le ressucite . 10 V.d. Weele was weer eens bij me. Misschien kom ik door hem in kennnis met Piet vd. Velden dien ge zeker wel kent uit zijn boeren- en visschersfiguren.12 Ik heb v.d. V. ns ontmoet en hij maakte toen een goede impressie op mij, ik dacht aan t figuur van Felix Holt de radicaal, van Eliott.14 Er is iets breeds en ruws in hem dat mij zeer bevalt iets van het ruwe van torchon. Een man die de beschaving blijkbaar niet zoekt in uiterlijke dingen doch inwendig veel verder is, veel veel veel verder dan de meesten. Enfin hij is een echt artist en ik wou ik hem kende want ik zou hem vertrouwen en ik weet zeker ik van hem zou leeren. En ook al komt het niet door v.d. Weele, zou t niet onmogelijk zijn ik hem eens tegen t lijf liep. Rappard zou verl. Maandag bij me gekomen zijn. toen werd zijne zuster16 ziek, schreef hij, en kon hij weer niet. Misschien komt hij deze week. Nu, tegenwoordig is er geen teekening meer waar ik niet met t penseel in werk met de drukinkt. Ik moet U wel zeggen dat ik wel wat gegeneerd ben in mijn beurs. dit is zeer zeker niet Uw schuld maar t is mijn schuld ook niet. hoe ik ook bereken, ik kan niet meer bezuinigen. [1r:4] en voor t uitvoeren van sommige plannen zou ik meer moeten hebben dan ik over beschikken kan. Begon ik er aan, ik zou moeten blijven steken. Maar t is wel eens iets melankolieks als men denkt, dit of dat zou ik zoo en zoo kunnen maken, en te stuiten op de kosten. Er blijft dan een onvoldane energie in iemand die men zou wenschen niet te behoeven in zich op te sluiten. Toch zeg ik het niet om te klagen ik ben dankbaar ik, zij t niet zoo krachtig als ik zou willen, vorderen kan. Maar de Engelschen zeggen wel eens, Time is money, en ik denk soms onwillekeurig het hard is tijd te zien voorbijgaan waarin dit of dat reeds had kunnen gedaan worden als ik de middelen gehad had. Gij zult begrijpen wat ik bedoel, ik zou meer willen kunnen besteden nog, en aan model en aan 10 Borrowed from Victor Hugo11, Les misrables , vol. 1, book 1, chapter 4: He whom man kills, God brings back to life; he whom the brothers drive away, find the Father (Celui que lhomme tue, Dieu le ressuscite; celui que les frres chassent retrouve le Pre). See Hugo 1951, p. 41. 12 Pieter van der Velden13 worked in Wassenaar and The Hague between 1875 and 1888 (see Scheen 1981). 14 For the protagonist of George Eliot15s novel Felix Holt, the radical , see letter 66, n. 1. 16 Wilhelmina Elisabeth van Rappard17. 4 To Theo van Gogh. The Hague, on or about Saturday, 21 April 1883. schilderbehoeften. Al verkoop ik geen een van mijn studies, toch zijn ze geloof ik waard wat zij aan verschotten18 kosten. Het atelier is zoo veel beter en bruikbaarder geworden doch ik heb slechts stoom genoeg voor half speed en zou full speed willen gaan. Nog eens, ik zeg het niet om te klagen, ook niet omdat ik U tot grootere opofferingen zou willen dringen, gij zijt eigentlijk zelf ook boven uw kracht belast. Maar tot explicatie en om mijn hart eens lucht te geven. Want ge begrijpt dat ik soms zware zorg heb. Enfin roeien met die riemen die er zijn en de dingen die we niet vertillen kunnen met kracht ondermijnen door geduld. Deze week teekende ik een paar liggende figuren, 19 ik zal wel eens figuren van lijken of zieken noodig hebben, zoowel mannen als vrouwen.
Recommended publications
  • Van Gogh Museum
    JV_01_65 03-06-2008 16:25 Pagina 1 VAN G OGH MUSEUM JAARVERSLAG 2007 JV_01_65 03-06-2008 16:25 Pagina 2 JV_01_65 06-06-2008 14:39 Pagina 3 Inhoud 5 Voorwoord Raad van Toezicht 11 Inleiding directie 19 Museumcollectie 31 Onderzoek 37 Publicaties 41 Tentoonstellingen 55 Educatie en communicatie Bijlagen 67 Financiële verslaglegging 82 Museum Mesdag 83 Van Gogh Museum Enterprises BV 84 Partners en sponsoren 86 Bezoekcijfers 86 Aanwinsten 87 Tijdelijke bruiklenen aan tentoonstellingen 91 Tentoonstellingen 92 Museumpublicaties 93 Programma vrijdagavonden 97 Programma zondaglezingen 100 Activiteiten medewerkers • Publicaties • Lezingen • Nevenactiviteiten 106 Medewerkers 113 Annual Report 2007 (English) JV_01_65 03-06-2008 16:25 Pagina 4 JV_01_65 03-06-2008 16:25 Pagina 5 Voorwoord Raad van Toezicht Het Van Gogh Museum en Museum Mesdag hebben een meervoudige missie: zij streven er niet alleen naar hun collecties optimaal te behe- ren en te ontwikkelen, maar de werken ook tentoon te stellen en voor een zo ruim mogelijk publiek toegankelijk maken. De grondslag van al die activiteiten is het wetenschappelijk onderzoek. Wegens een nijpend tekort aan mensen en middelen is het voor hedendaagse musea alles- behalve vanzelfsprekend om wetenschappelijk werk te verrichten. Wij zijn dan ook trots dat het jaar 2007 voor het Van Gogh Museum bijzon- der rijk was aan onderzoeksinitiatieven en wetenschappelijke publica- ties, met zelfs de lancering van een nieuwe wetenschappelijke serie: Van Gogh Studies. De tentoonstellingen, de vaste collectie en de vele activiteiten in het Van Gogh Museum trokken dit jaar weer een massa geïnteresseerden aan: met ruim 1,55 miljoen bezoekers kwam het Van Gogh Museum in 2007 in de groep van de 25 meest bezochte musea ter wereld terecht.
    [Show full text]
  • Van Gogh Museum Journal 1995
    Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.
    [Show full text]
  • Beyond the Pink: (Post) Youth Iconography in Cinema
    Beyond the Pink: (Post) Youth Iconography in Cinema Christina Lee Bachelor of Arts with First Class Honours in Communication Studies This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2005 Declaration I declare that this dissertation is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. ______________________ Christina LEE Hsiao Ping i Publications and Conference Presentations Refereed Publications Christina Lee. “Party people in the house(s): The hobos of history” in Liverpool of the South Seas: Perth and Its Popular Music. Tara Brabazon (ed.) Crawley: University of Western Australia Press, 2005. pp. 43-52. This chapter was written in association with the research on rave culture, as featured in Chapter Six. Christina Lee. “Let me entertain you” in TTS Australia: Critical Reader. Bec Dean (ed.) Northbridge: PICA, 2005. pp. 17-18. This piece was written in association with the research on nationalism and xenophobia, as featured in Chapter Seven. Christina Lee. “Lock and load(up): The action body in The Matrix”, Continuum: Journal of Media and Cultural Studies, forthcoming 2005. This journal article was written in association with the research on simulacra and masculinity, as featured in Chapter Two and Chapter Seven. Conference Presentations “Lock and Load(up): The Action Body in The Matrix”. Alchemies: Community Exchanges. 7th Annual Humanities Graduate Research Conference. Curtin University of Technology: Bentley, Australia. 6-7 November, 2003. This conference presentation was derived from research on the simulacra and the action hardbody as presented in Chapter Two and Chapter Seven.
    [Show full text]
  • DOCUMENT RESUME ED 360 972 IR 054 650 TITLE More Mysteries
    DOCUMENT RESUME ED 360 972 IR 054 650 TITLE More Mysteries. INSTITUTION Library of Congress, Washington,D.C. National Library Service for the Blind andPhysically Handicapped. REPORT NO ISBN-0-8444-0763-1 PUB DATE 92 NOTE 172p. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Annotated Bibliographies; Audiodisks; *Audiotape Recordings; Authors; *Blindness; *Braille;Government Libraries; Large Type Materials; NonprintMedia; *Novels; *Short Stories; *TalkingBooks IDENTIFIERS *Detective Stories; Library ofCongress; *Mysteries (Literature) ABSTRACT This document is a guide to selecteddetective and mystery stories produced after thepublication of the 1982 bibliography "Mysteries." All books listedare available on cassette or in braille in the network library collectionsprovided by the National Library Service for theBlind and Physically Handicapped of the Library of Congress. In additionto this largn-print edition, the bibliography is availableon disc and braille formats. This edition contains approximately 700 titles availableon cassette and in braille, while the disc edition listsonly cassettes, and the braille edition, only braille. Books availableon flexible disk are cited at the end of the annotation of thecassette version. The bibliography is divided into 2 Prol;fic Authorssection, for authors with more than six titles listed, and OtherAuthors section, a short stories section and a section for multiple authors. Each citation containsa short summary of the plot. An order formfor the cited
    [Show full text]
  • NPRC) VIP List, 2009
    Description of document: National Archives National Personnel Records Center (NPRC) VIP list, 2009 Requested date: December 2007 Released date: March 2008 Posted date: 04-January-2010 Source of document: National Personnel Records Center Military Personnel Records 9700 Page Avenue St. Louis, MO 63132-5100 Note: NPRC staff has compiled a list of prominent persons whose military records files they hold. They call this their VIP Listing. You can ask for a copy of any of these files simply by submitting a Freedom of Information Act request to the address above. The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website.
    [Show full text]
  • Women in African Cinema: an Aesthetic and Thematic Analysis of Filmmaking by Women in Francophone West Africa and Lusophone and Anglophone Southern Africa
    University of Stirling Women in African Cinema: An aesthetic and thematic analysis of filmmaking by women in francophone West Africa and lusophone and anglophone Southern Africa Lizelle Bisschoff Supervised by Professor David Murphy Submitted for the degree of PhD in French Studies School of Languages, Cultures and Religions November 2009 ABSTRACT Women in African Cinema: An aesthetic and thematic analysis of filmmaking by women in francophone West Africa and lusophone and anglophone Southern Africa This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change.
    [Show full text]
  • Rozann Allyn Shackleton Editor's Voice Linda Brown Making The
    Volume 26 Number 2 • Autumn/Winter 2010 Rozann Allyn Shackleton Editor's Voice Linda Brown Making the Case for Case Study Research This article provides a how-to guide for chaplains interested in conducting case study research, including research design, data collection/analysis and preparation of the manuscript. keywords: methodology, data analysis, evidence-based practice Ann Sidney Charlescraft, Alexander Tartaglia, Diane Dodd-McCue, Sandra B. Barker When Caring Hurts . A Pilot Study Supporting Compassion-fatigued Pediatric Critical Care Nurses Compassion fatigue is often experienced in health care institutions. The article describes the vital role that chaplains may play in addressing self-care as an ethical and pastoral priority and details an intervention plan piloted with critical care nurses. keywords: research, survey, burnout Mark LaRocca-Pitts Protocol-based Referrals: A Method for Selecting Patients in the Electronic Age Effective patient selection is a perennial concern for chaplains. Various methods have been proposed, including case-finding, standard response and referral. This article discusses protocol-based referrals, a form of standard response which utilizes electronic medical records as a tool for selecting patients. keywords: referral, patient records, triage Marci Pounders Essay- Don't Worry, I've Got You Personal reflection on ministry to a hospice patient. keywords: pastoral, end-of-life, compassion George R. Robie, Coordinator Retired Chaplains' Writing Project This installment features the reflections of three past presidents of the two organizations which merged to form the Association of Professional Chaplains. keywords: collegial, wisdom, history - Jerry J. Griffin: The Integrity of Authority and Identity - Ron Ropp: Issues, Concerns and Goals of Chaplain Leadership 1982-83 - Clark S.
    [Show full text]
  • Dissertation Proposal
    EXILE AND EMPIRE: POST-IMPERIAL NARRATIVE AND THE NATIONAL EPIC: A COMPARATIVE STUDY OF RUSHDIE’S THE SATANIC VERSES & VIRGIL’S AENEID By KENNETH SAMMOND A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Comparative Literature Written under the direction of Steven F. Walker And approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey January, 2011 ©2011 Kenneth Sammond ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION Exile and Empire: Post-Imperial Narrative and the National Epic: A Comparative Study of Rushdie’s The Satanic Verses and Virgil’s Aeneid By KENNETH SAMMOND Dissertation Director: Professor Steven F. Walker This dissertation juxtaposes Virgil’s Aeneid with Salman Rushdie’s The Satanic Verses in order to explore how epics, which question and upend our very ideas of civilization, represent a crisis in culture and anticipate new ways of imagining community. This juxtaposition, developed from allusions to Virgil found in The Satanic Verses, examines how Virgil’s epic imagines empire and how Rushdie’s work, as a type of epic, creates a narrative that I term, ‘post-imperial.’ Post-imperial narrative is defined as part of the evolution of the epic genre and its ways of imagining community. To create this definition, I represent a genealogy of epic traits both structural and thematic, arguing that epic themes express totalizing perspectives and changes that irrevocably alter the world. This genealogy reveals how epics imagine communities by creating self-definitional traits, historical and cosmological contexts, and anticipated futures.
    [Show full text]
  • As German As Kafka
    As German as Kafka IDENTITY AND SINGULARITY IN GERMAN LITERATURE AROUND 1900 AND 2000 As German as Kafka IDENTITY AND SINGULARITY IN GERMAN LITERATURE AROUND 1900 AND 2000 Lene Rock Leuven University Press Published with the support of the KU Leuven Fund for Fair Open Access Published in 2019 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Lene Rock, 2019 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. Further details about Creative Commons licenses are available at http://creativecommons.org/licenses/ Attribution should include the following information: Lene Rock, As German as Kafka: Identity and Singularity in German Literature around 1900 and 2000. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) ISBN 978 94 6270 178 6 (Paperback) ISBN 978 94 6166 284 2 (ePDF) ISBN 978 94 6166 285 9 (ePUB) https://doi.org/10.11116/9789461662842 D/2019/1869/49 NUR: 617 Layout: Friedemann Vervoort Cover design: Anton Lecock CONTENTS Acknowledgements 9 Introduction 11 Chapter 1 Constitutive outsiders 31 1.1 Ambivalences of Kultur and Aufklärung 31 Constructions of German identity 32 Kultur versus Zivilisation 34 1.2 “Trapped by the image of a rejected self ”—Jews in Germany, German Jews 38 Emancipation and acculturation (1770–1880) 38 Modern anti-Semitism and Jewish dissimilation (1880–1933) 41 The ambivalence of assimilation 50 1.3 A reluctant country of immigration 52 From emigration to immigration
    [Show full text]
  • The Marginalized and Ostracized
    ABSTRACT THE MARGINALIZED AND OSTRACIZED HENRI DE TOULOUSE- LAUTREC: HOW A GENETIC PHYSICAL AILMENT WAS KEY TO A NOBLE MAN’S DÉCLASSÉ DROP IN SOCIAL CLASS AS HE PARALLELED HIMSELF WITH THE OUTCAST IN BOHEMIAN MONTMARTRE The purpose of this thesis is to determine how the genetic disease pycnodysostosis determined the artwork and subject matter of the modern artist Henri de Toulouse- Lautrec as he paralleled himself with the social outcast living in bohemian Montmartre Paris during the 19th century. The class structure of European society naturally marginalized Henri de Toulouse-Lautrec for his physical ailment. Despite his noble privilege, he was ostracized for his physical height, ridiculed for his short stature as it was viewed as a freak of nature. Because of his physical differences, his peers denied him the opportunity to be a legitimate member of the aristocracy and respectable citizen of bourgeois society. This led to a general experience of alienation in such environments among his own class throughout his lifetime. Eventually, this caused him to find refuge in bohemian society, where his experience of exclusion paralleled that of other social outcasts, which validated his own rejection in terms of his class and its values. This movement away from his own class transformed the focus of his art. The respectable subject matter that was once expected of him by the aristocracy was unexpectedly replaced with the bohemian as subject, an act seen as a disrespect to the establishment, including his own family. The “noble lady” was replaced with the art model, female entertainer, the prostitute and the lesbian, while the “noble gentleman” was replaced with the male anarchist, entertainer and homosexual.
    [Show full text]
  • Sounds from St. Olaf Digital Concert Series
    SOUNDS FROM ST. OLAF DIGITAL CONCERT SERIES INVITATION TO THE DANCE STEVEN AMUNDSON AND MARTIN HODEL, HOSTS SUNDAY, NOVEMBER 22, 2020 ST. OLAF PHILHARMONIA Martin Hodel, conductor Hungarian Dance No. 5 Johannes Brahms (1833–1897) ST. OLAF BAND Timothy Mahr '78, conductor “Mambo Loco” from Divertimento Ira Hearshen (b. 1948) Living in Los Angeles, Ira Hearshen has worked steadily as an arranger and orchestrator in motion pictures, television, and recordings for the majority of his career. His works for the concert stage include the original composition Symphony on Themes of John Phillip Sousa, a 45-minute, four-movement symphony nominated for the 1997 Pulitzer Prize in music. The concert works bear the mark of a seasoned professional orchestrator. Hearshen’s Divertimento for Band was inspired by the Vincent Persichetti band composition of the same title. It is an exciting and major work for contemporary wind ensemble that reflects the multicultural American experience. Cast in five movements, Hearshen’s Divertimento melds popular and traditional musical styles indigenous to the United States, Europe, and Cuba. —Program note by Timothy Mahr ST. OLAF ORCHESTRA Steven Amundson, conductor Valse Triste Jean Sibelius (1865–1957) Jean Sibelius’s Valse Triste (“Sad Waltz”) is a poignant dance written as incidental music for the 1903 play Kuolema (“Death”). The Finnish composer wrote Valse Triste to accompany a scene in which an old woman on her deathbed dreams that dancers fill the room around her, and that she joins them in a swirling waltz. As she dances, the music grows increasingly frenzied until there is a knock on the door, and Death, in the form of the woman’s late husband, comes to claim her.
    [Show full text]
  • “On Asp and Cobra You Will Tread...:” Animals As Allegories of Transformation in Delacroix's Liberty Leading the People
    URN: urn:nbn:de:bsz:16-artdok-65320 URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2019/6532 DOI: 10.11588/artdok.00006532 “On Asp and Cobra You Will Tread...:” Animals as Allegories of Transformation in Delacroix’s Liberty Leading the People. Marijke Jonker Marijke Jonker is an independent scholar. She received a doctorate in art history from the University of Amsterdam in 1994 (Dissertation title: "Diderot’s Shade: the Discussion on 'Ut Pictura Poesis' and Expression in French Art Criticism 1819-1840"). She is a specialist in French eighteenth- and nineteenth-century art and art criticism. Her publications include articles about David's Leonidas, the critics La Font de Saint-Yenne, Delécluze and Planche, Delacroix's use of allegory, his painting Execution of the Doge Marino Faliero, and nineteenth-century interpretations of Géricault's Raft of the Medusa. ©Marijke Jonker, 2019. All rights reserved. Text of Psalm 91 (90), translation by Albert Pietersma: Quotations are taken from A New English Translation of the Septuagint, © 2007 by the International Organization for Septuagint and Cognate Studies, Inc. Used by permission of Oxford University Press. All rights reserved. Contents Introduction 1 The Literature on Liberty Leading the People 20 Restoration and July Revolution 28 Liberty Leading the People in 1831 and Later Years 41 La Curée 47 Grandville 57 Wednesday 28 July 66 Liberty Leading the People: The Painting’s Composition 72 The Barricade Fighters 78 The Voltigeur (a Salamander or Lizard?) 81 The Gamin de Paris (a Squirrel?)
    [Show full text]