Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Answer: Anna Karenina
2003 Mad City Masters The Whole Family (Andrew Yaphe, Subash Maddipoti, Paul Litvak) Tossnps by Andrew Yaphe 1. His worst novel is probably The Coast ofBohemia, which appeared in the same year as The World ofChance and An Imperative Duty. His last novel, 1916's The Leatherwood God, depicts the Ohio frontier, while Boston was the setting for The Minister's Charge and New York City for A Hazard ofNew Fortunes. FTP, name ~his great American novelist of Indian Summer, A Modern Instance, and The Rise ofSilas Lapham. Answer: William Dean Howells 2. William Dean Howells married a cousin of this man, who was also the subject ofa biography by Howells. He was derided as "Granny" and "Queen Victoria in britches," for his conservatism but not as much as his pro temperance wife, Lemonade Lucy. He vetoed Congress's repeals ofthe Force Acts and the Bland-Allison Act, but he split his party by suspending Alonzo Cornell and Chester Arthur in an attempt to break the corrupt Conkling machine. FTP, name this Republican, who ended Reconstruction when he was elected President in 1876 in a controversial race with Samuel Tilden. Answer: ~utherford B. Hayes 3. William Dean Howells's poem "Pordenone" is about his rivalry with this artist for the hand of Violante. The Duke of Ferrara commissioned this man's The Worship of Venus and Bacchanal ofthe Andrians, while Philip II commissioned his Diana and Actaeon, and the Holy Roman Emperor commissioned his Charles Vas the Victor of Mulhberg. FTP, name this pupil of Giorgione and painter of Sacred and Profane Love and the Venus of Urbino. -
Rubens's Peasant Dance in the Prado
1 David Freedberg Rubens’s Peasant Dance in the Prado.1 Today I want to talk about one of Rubens’s most enchanting paintings, his Dance of Mythological Figures and Villagers in the Prado.2 It is one of his most loveable and most important late works, and though it has been much admired, it has not received anything like the attention, let alone the commentary it deserves. To anyone who knows Rubens’s work, it is clear that the picture must have been painted in the last decade of his life, when, after his long courtly and diplomatic labors, he retired to the countryside with his young bride, Hélène Fourment. There, although he kept his studio in Antwerp very busy with an incessant flow of commissions, both religious and mythological, he concentrated on two main themes: his family, and the life of the Flemish countryside. He painted the landscape he grew to love deeply, and he painted the peasants who lived in it with a mixture of candor, affection, and respect for both their labors and their pleasures. The painting fits perfectly with what we know about Rubens in the 1630s, but when it was painted within that decade is another question. There are many indicators of a date well into the 1630s: the beautiful glow in the evening sky, suffusing the blue sky and wispy clouds, the softness of the dense foliage, the delicate treatment of the farmhouse with its enticing terrace on the right. Consider also the magnificent coloristic treatment of this picture: the ravishing changeant on the lilac dress of the young woman just catching up on the dance in the center rear of the 1 Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on February 2, 2004 and published as “La ‘Danza de aldeanos’ de Rubens en el Prado,” in Historias Mortales: La vida cotidiana en el arte, Madrid: Fundación Amigos del Museo del Prado; Barcelona: Galaxia Gutenberg/Círcolo de Lectores, 2004, 128-142. -
Paul F. Grendler, 1969 Sansovino and Italian Popular History
www.anacyclosis.org THE INSTITUTE FOR ANACYCLOSIS EXCERPT FROM FRANCESCO SANSOVINO AND ITALIAN POPULAR HISTORY BY PAUL F. GRENDLER 1969 A.D. Note: This text, containing a brief sketch of Polybius’ Anacyclosis, describes Francesco Sansovino’s efforts to popularize Anacyclosis during the Italian Renaissance. Footnotes have been omitted. II. The popularizers occasionally pondered man and history. They wrote no formal treatises but they wrote many prefaces and dedicatory letters in which it was standard procedure to discuss briefly the purpose of a work and to reflect on man and history. … Influenced by the events of his century and the current discussions of man and history, Sansovino assigned limits to man’s participation in shaping his world. He believed that man could shape his political destiny in day-to-day affairs but that politics was in the long run subject to an inevitable cycle. Sansovino viewed the growth and decline of states in terms of Polybius’ anacyclosis. The initially good government of one man, monarchy, became a tyranny. Then the state was renewed by the efforts of a few good men who made it an aristocracy. This in turn decayed into oligarchy and was replaced by democracy which became mob rule which, in turn was supplanted by one-man rule as the cycle continued. Sansovino noted that worthy men attempted unsuccessfully to establish principates or republics to endure a thousand years. The reasons for failure were twofold. By their nature all human institutions carried within themselves the seeds of corruption which were human excesses and disorders. Second, one could not provide for everything. -
Tizian, Des Meisters Gemälde in 260 Abbildungen
DES MEISTERS GEMÄLDE I"N 260 ABBILDUNGEN LIBRARY Brigham Young University Digitized by the Internet Archive in 2012 with funding from Brigham Young University http://archive.org/details/tiziandesmeisterOOfisc — KLASSIKER DER KUNST IN GESAMTAUSGABEN Von dieser Sammlung sind bislang erschienen: Bd. I : RAFFAEL. Des Meisters Gemälde in 203 Ab- bildungen. Mit einer biographischen Ein- leitung von Adolf Rosenberg. 3. Aufl. Gebunden M. 5. Bd. II: REMBRANDT. Des Meisters Gemälde in 565 Abbildungen. Mit einer biographischen Einleitung von Adolf Rosenberg. 2. Aufl. Gebunden M. 10.— Bd. III: TIZIAN. Des Meisters Gemälde in 260 Ab- bildungen. Mit einer biographischen Ein- leitung von Dr. Oskar Fischel. 2. Aufl. Gebunden M. 6. Bd. IV: DÜRER. Des Meisters Gemälde, Kupfer- stiche und Holzschnitte in 447 Abbildungen. Mit einer biographischen Einleitung von Dr. Valentin Scherer. Geb. M. 10.— Bd. V: RUBENS. Des Meisters Gemälde in 551 Ab- bildungen. Mit einer biographischen Ein- leitung von Adolf Rosenberg. Gebunden M. 12.— Bd. VI: VELAZQUEZ. Des Meisters Gemälde in 146 Abbildungen. Mit einer biographischen Einleitung von Walther Gensei. Gebunden M. 6. Bd. VII: MICHELANGELO. Des Meisters Werke in 166 Abbildungen. Mit einer biogra- phischen Einleitung von Fritz Knapp. Gebunden M. 6.— TIZIAN Klassiker der Kunst IN GESAMTAUSGABEN DRITTER BAND TIZIAN STUTTGART und LEIPZIG DEUTSCHE VERLAGS-ANSTALT 1906 Berlin, Kaiser Frledrlch-Museun Auf Leinwand, H. 0,96, li. (),; Selbstbildnis Tizians Portrait of Titian Um 1550 Portrait de l'artiste Nach einer Aufnahme von Kranz Hanfstaengl, München TIZIAN DES MEISTERS GEMÄLDE N 260 ABBILDUNGEN MIT EINER BIOGRAPHISCHEN EINLEITUNG VON Dr. OSKAR FISCHEL ZWEITE AUFLAGE STUTTGART und LEIPZIG DEUTSCHE VERLAGS-ANSTALT 1906 Von der ersten Auflage dieses Werkes ist eine Luxusausgabe in hundert numerierten Exemplaren auf eigens dafür angefertigtes feinstes Kunst- druckpapier gedruckt worden. -
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works. -
THE EARLIER WORK of TITIAN by CLAUDE
THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and -
Inventaire Des Livres Italiens Conservés Dans Les Départements De L’Eure Et De La Seine-Maritime
INVENTAIRE DES LIVRES ITALIENS CONSERVÉS DANS LES DÉPARTEMENTS DE L’EURE ET DE LA SEINE-MARITIME par Gaëlle Thomasset de Longuemare, 1er avril 2015 Introduction Le programme Routes du livre ancien italien en Normandie est un projet international et pluridisciplinaire qui entre dans un programme plus large de valorisation du livre italien dans le cadre de l'axe Valorisation du patrimoine littéraire et esthétique du LASLAR de l'Université de Caen Basse-Normandie. Développé dans le cadre du Contrat Projet État-Région 2008-2011, ce projet a jusque là connu plusieurs phases : d'abord l'élaboration d'une première version de la base RDLI à partir de la rétro-conversion du catalogue d'Alain Girard (Livres imprimés en Italie de 1470 à 1600 conservés dans les bibliothèques publiques de la région Basse-Normandie, Caen, Bibliothèque de la ville de Caen, 1982), puis l'enrichissement de ces notices. Ces deux étapes réalisées, le programme étend désormais ses recherches aux livres italiens conservés dans les départements de l'Eure et de la Seine-Maritime. À ces fins, nous avons réalisé un inventaire recensant les livres anciens italiens publiés, quelle que soit la langue, depuis les débuts de l’imprimerie jusqu’à 1600 et conservés dans les établissements des département de l’Eure et de la Seine-maritime. En effet, si le catalogage des livres italiens Bas-Normands a pu être facilité par le catalogue Girard et la première base RDLI qu'il s'agissait d'enrichir, il n'existe pas de telles sources pour la région Haute-Normandie. Il fallait donc, avant toute nouvelle opération de catalogage, identifier quels établissements étaient susceptibles d'être concernés par notre nouvelle campagne, mais aussi situer et quantifier les collections. -
Studio Bibliografico Apuleio Libriantichionline.Com
Studio Bibliografico Apuleio Via Caio Valerio Mariano, 6 38122 Trento Catalogo 14 Studio Bibliografico Apuleio 3. Apicius 15. Bonanni Catalogo 14 40. Ghirardelli 117. Zonca Studio Bibliografico Apuleio Libriantichionline.com In caso di mancato recapito inviare al C.P.O. di Trento per la restituzione al mittente previo pagamento resi 1. Alighieri 194. Grotius 77. Pignoria 105. Valvasone Responsabile dott. Roberto Sbiroli Via Caio Valerio Mariano, 6 - 38122 Trento - P. Iva 01825860222 Tel e fax 0461/420360 - Cell. 347/3105640 - Conto corrente postale: 42097394 Sito internet: www.libriantichionline.com - E-mail: [email protected] Orario di ricevimento telefonico: da lunedì a sabato 9:30-12.30 / 14:30-18:30 In nostra assenza è sempre attiva la segreteria telefonica Condizioni di vendita - I prezzi sono fissi per tutti, invio dei volumi in contrassegno o dietro pagamento anticipato previa con- ferma della disponibilità dei volumi stessi. - Spese di spedizione a carico del committente. La merce viaggia a rischio e pericolo del committente stesso. - Per ogni controversia è competente il Foro di Trento. - Altre condizioni di vendita conformi all’uso delle librerie antiquarie. I dati personali in nostro possesso saranno gestiti con la massima riservatezza ai sensi della legge n. 675 del 31.12.1996 e delle successive integrazioni legislative. Vendita per corrispondenza (proposta, accettazione, invio della merce e pagamento attraverso i servizi postali) Catalogo periodico maggio 2015 - Stampato da Grafica ,5 Arco (Tn) - Spedizione PostaTarget Si ringrazia per il supporto informatico e per la creazione web MACCOM sas Viale Verona, 190/11 - 38123 Trento - Tel. 0461 402017 - [email protected] - www.maccom.it 90. -
Sansovino Editore Di Dante: La Commedia Del 1564 Gaia Tomazzoli
Sansovino editore di Dante: la Commedia del 1564 Gaia Tomazzoli To cite this version: Gaia Tomazzoli. Sansovino editore di Dante: la Commedia del 1564. Luca D’Onghia; Daniele Musto. Francesco Sansovino scrittore del mondo. Atti del convegno internazionale di studi Pisa, 5-6-7 dicembre 2018, Edizioni di Archilet, pp.147-178, 2019, 978-88-99614-05-8. hal-02539854 HAL Id: hal-02539854 https://hal.archives-ouvertes.fr/hal-02539854 Submitted on 23 Apr 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. FRANCESCO SANSOVINO SCRITTORE DEL MONDO Atti del convegno internazionale di studi Pisa, 5-6-7 dicembre 2018 a cura di LUCA D’ONGHIA e DANIELE MUSTO EDIZIONI DI ARCHILET MMXIX Edizioni di Archilet 2019 Edizione digitale Gratis Open Access 2019 Il volume è pubblicato con il contributo del Ministero dell’Uni- versità e della Ricerca (progetto PRIN 2015EYM3PR_007) e della Scuola Normale Superiore Edizioni di Archilet via della Chiesa, 15 24067 Sarnico (BG) Direzione: Clizia Carminati, Paolo Procaccioli, Emilio Russo Comitato Scientifico: Eliana Carrara, Giuseppe Crimi, Luca D’Onghia, Roberta Ferro, Enrico Garavelli, Riccardo Gualdo, Carlo Alberto Girotto, Paolo Marini, Paola Moreno, Matteo Residori, Ste- fano Telve, Franco Tomasi, Massimo Zaggia ISBN: 978-88-99614-05-8 INDICE PAOLO PROCACCIOLI, Francesco Sansovino. -
Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian Editions of Jacopo Sannazaro's Arcadia
This is a repository copy of Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian editions of Jacopo Sannazaro's Arcadia (1571 and 1578) and Edmund Spenser's The Shepheardes Calender (1579). White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136570/ Version: Accepted Version Article: Brennan, MG orcid.org/0000-0001-6310-9722 (2018) Philip Sidney's Book-Buying at Venice and Padua, Giovanni Varisco's Venetian editions of Jacopo Sannazaro's Arcadia (1571 and 1578) and Edmund Spenser's The Shepheardes Calender (1579). Sidney Journal, 36 (1). pp. 19-40. ISSN 1480-0926 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Philip Sidney’s Book-Buying at Venice and Padua, Giovanni Varisco’s Venetian editions of Jacopo Sannazaro’s Arcadia (1571 and 1578) and Edmund Spenser’s The Shepheardes Calender (1579)1 [Abstract] This essay traces Philip Sidney’s involvements with the book trade at Venice and Padua during his residence there from November 1573 until August 1574. -
Titian. Masterpieces in Colour, by S. L. Bensusan. a Project Gutenberg
MASTERPIECES I N C O L O U R E D I T E D B Y - - T. LEMAN HARE TITIAN 1477 (?)–1576 "Masterpieces in Colour" Series ARTIST. AUTHOR. VELAZQUEZ. S. L. BENSUSAN. REYNOLDS. S. L. BENSUSAN. TURNER. C. LEWIS HIND. ROMNEY. C. LEWIS HIND. GREUZE. ALYS EYRE MACKLIN. BOTTICELLI. HENRY B. BINNS. ROSSETTI. LUCIEN PISSARRO. BELLINI. GEORGE HAY. FRA ANGELICO. JAMES MASON. REMBRANDT. JOSEF ISRAELS. LEIGHTON. A. LYS BALDRY. RAPHAEL. PAUL G. KONODY. HOLMAN HUNT. MARY E. COLERIDGE. ARTIST. AUTHOR. TITIAN. S. L. BENSUSAN. MILLAIS. A. LYS BALDRY. CARLO DOLCI. GEORGE HAY. GAINSBOROUGH. MAX ROTHSCHILD. TINTORETTO. S. L. BENSUSAN. LUINI. JAMES MASON. FRANZ HALS. EDGCUMBE STALEY. VAN DYCK. PERCY M. TURNER. LEONARDO DA VINCI. M. W. BROCKWELL. RUBENS. S. L. BENSUSAN. WHISTLER. T. MARTIN WOOD. HOLBEIN. S. L. BENSUSAN. BURNE-JONES. A. LYS BALDRY. VIGÉE LE BRUN. C. HALDANE MACFALL. ARTIST. AUTHOR. CHARDIN. PAUL G. KONODY. FRAGONARD. C. HALDANE MACFALL. MEMLINC. W. H. J. & J. C. WEALE. CONSTABLE. C. LEWIS HIND. RAEBURN. JAMES L. CAW. JOHN S. SARGENT. T. MARTIN WOOD. LAWRENCE. S. L. BENSUSAN. DÜRER. H. E. A. FURST. MILLET. PERCY M. TURNER. WATTEAU. C. LEWIS HIND. HOGARTH. C. LEWIS HIND. MURILLO. S. L. BENSUSAN. WATTS. W. LOFTUS HARE. INGRES. A. J. FINBERG. Others in Preparation. PLATE I.—THE DUCHESS OF URBINO. Frontispiece (In the Uffizi Gallery, Florence) This portrait of the Duchess of Urbino from the Uffizi must not be confused with the portrait of the Duchess in the Pitti Palace. The sitter here is Eleonora Gonzaga, Duchess of Urbino, and the portrait was painted somewhere between the years 1536 and 1538 at a period when the master's art had ripened almost to the point of its highest achievement. -
The Making of Sultan Süleyman: a Study of Process/Es of Image-Making and Reputation Management
THE MAKING OF SULTAN SÜLEYMAN: A STUDY OF PROCESS/ES OF IMAGE-MAKING AND REPUTATION MANAGEMENT by NEV ĐN ZEYNEP YELÇE Submitted to the Institute of Social Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Sabancı University June, 2009 © Nevin Zeynep Yelçe 2009 All Rights Reserved To My Dear Parents Ay şegül and Özer Yelçe ABSTRACT THE MAKING OF SULTAN SÜLEYMAN: A STUDY OF PROCESS/ES OF IMAGE-MAKING AND REPUTATION MANAGEMENT Yelçe, Nevin Zeynep Ph.D., History Supervisor: Metin Kunt June 2009, xv+558 pages This dissertation is a study of the processes involved in the making of Sultan Süleyman’s image and reputation within the two decades preceding and following his accession, delineating the various phases and aspects involved in the making of the multi-layered image of the Sultan. Handling these processes within the framework of Sultan Süleyman’s deeds and choices, the main argument of this study is that the reputation of Sultan Süleyman in the 1520s was the result of the convergence of his actions and his projected image. In the course of this study, main events of the first ten years of Sultan Süleyman’s reign are conceptualized in order to understand the elements employed first in making a Sultan out of a Prince, then in maintaining and enhancing the sultanic image and authority. As such, this dissertation examines the rhetorical, ceremonial, and symbolic devices which came together to build up a public image for the Sultan. Contextualized within a larger framework in terms of both time and space, not only the meaning and role of each device but the way they are combined to create an image becomes clearer.