Saturn Devouring His Son – Goya & Rubens
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Vasari's Castration of Caelus: Invention and Programme
VASARI’S CASTRATION OF CAELUS: INVENTION AND PROGRAMME GIORGIO VASARI: The “CASTRAZIONE DEL CIELO FATTA DA SATURNO” [1558], in: Ragionamento di Giorgio Vasari Pittore Aretino fatto in Firenze sopra le invenzioni delle storie dipinte nelle stanze nuove nel palazzo ducale Con lo Illustrissimo Don Francesco De’ Medici primo genito del Duca Cosimo duca di Fiorenza, Firenze, Biblioteca della Galleria degli Uffizi (Manoscritto 11) and COSIMO BARTOLI: „CASTRATIONE DEL CIELO“, 1555, in: “Lo Zibaldone di Giorgio Vasari”, Arezzo, Casa Vasari, Archivio vasariano, (Codice 31) edited with an essay by CHARLES DAVIS FONTES 47 [10 February 2010] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2010/894/ urn:nbn:de:bsz:16-artdok-8948 1 PREFACE: The Ragionamenti of Giorgio Vasari, describing his paintings in the Palazzo Vecchio in Florence, the Medici ducal palace, is a leading example of a sixteenth-century publication in which the author describes in extenso his own works, explicating the inventions and, at times, the artistry that lie behind them, as well as documenting the iconographic programme which he has followed. Many of the early surviving letters by Vasari follow a similar intention. Vasari began working in the Palazzo Vecchio in 1555, and he completed the painting of the Salone dei Cinquecento in 1565. Vasari had completed a first draft of the Ragionamenti in 1558, and in 1560 he brought it to Rome, where it was read by Annibale Caro and shown to Michelangelo (“et molti ragionamenti fatte delle cose dell’arte per poter finire quel Dialogo che già Vi lessi, ragionando lui et io insieme”: Vasari to Duke Cosimo, 9 April 1560). -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
Notes and References
Notes and References Prologue: Food Security and the Literary Imagination 1. Jane Austen, Letter to Cassandra Austen, 23 Hans Place, 23–24 August 1814, in Jane Austen (1995), Jane Austen’s Letters, ed. Deirdre Le Faye, 4th edn (Oxford University Press), pp. 281–4 (p. 238). 1 Food Matters 1. Cited in Frank Dikötter (2010), Mao’s Great Famine: The History of China’s Most Devastating Catastrophe, 1958–62 (London: Bloomsbury), unpaginated preliminary pages. 2. Harry Thompson (2011), Peter Cook: A Biography (London: Hachette, 2011; orig. pub. Hodder & Stoughton, 1997), p. 47. 3. Francisco Goya y Lucientes, Saturn Devouring his Son (1819–23), 1.43 m x 81 cm, Museo Nacional Del Prado, Madrid, Spain; Hannibal Lecter first appeared in Thomas Harris’s novel Red Dragon (1981). 4. Maggie Kilgour (1990), From Communion to Cannibalism: An Anatomy of Metaphors of Incorporation (Princeton University Press). 5. See, for example, Bonnie J. W. Martin, Jeri A. Logemann, Reza Shaker and Wylie J. Dodds (1994), ‘Coordination Between Respiration and Swallowing: Respiratory Phase Relationships and Temporal Integration,’ Journal of Applied Physiology 76: 714–23. 6. Suzanne Collins (2009), Catching Fire (New York: Scholastic Press), p. 22. The political use of food and hunger in the Hunger Games trilogy is discussed further in the Epilogue. 7. Colin Tudge (2004), So Shall We Reap: What’s Gone Wrong with the World’s Food – and How to Fix It (London: Penguin; orig. pub. Allen Lane, 2003), p. 34. 8. Daniel Quinn (2009), Ishmael: An Adventure of the Mind and Spirit (New York: Random House; orig. pub. Bantam, 1992). -
Who Was Protagoras? • Born in Abdêra, an Ionian Pólis in Thrace
Recovering the wisdom of Protagoras from a reinterpretation of the Prometheia trilogy Prometheus (c.1933) by Paul Manship (1885-1966) By: Marty Sulek, Ph.D. Indiana University Lilly Family School of Philanthropy For: Workshop In Multidisciplinary Philanthropic Studies February 10, 2015 Composed for inclusion in a Festschrift in honour of Dr. Laurence Lampert, a Canadian philosopher and leading scholar in the field of Nietzsche studies, and a professor emeritus of Philosophy at IUPUI. Adult Content Warning • Nudity • Sex • Violence • And other inappropriate Prometheus Chained by Vulcan (1623) themes… by Dirck van Baburen (1595-1624) Nietzsche on Protagoras & the Sophists “The Greek culture of the Sophists had developed out of all the Greek instincts; it belongs to the culture of the Periclean age as necessarily as Plato does not: it has its predecessors in Heraclitus, in Democritus, in the scientific types of the old philosophy; it finds expression in, e.g., the high culture of Thucydides. And – it has ultimately shown itself to be right: every advance in epistemological and moral knowledge has reinstated the Sophists – Our contemporary way of thinking is to a great extent Heraclitean, Democritean, and Protagorean: it suffices to say it is Protagorean, because Protagoras represented a synthesis of Heraclitus and Democritus.” Nietzsche, The Will to Power, 2.428 Reappraisals of the authorship & dating of the Prometheia trilogy • Traditionally thought to have been composed by Aeschylus (c.525-c.456 BCE). • More recent scholarship has demonstrated the play to have been written by a later, lesser author sometime in the 430s. • This new dating raises many questions as to what contemporary events the trilogy may be referring. -
Saturn As the “Sun of Night” in Ancient Near Eastern Tradition ∗
Saturn as the “Sun of Night” in Ancient Near Eastern Tradition ∗ Marinus Anthony van der Sluijs – Seongnam (Korea) Peter James – London [This article tackles two issues in the “proto-astronomical” conception of the planet Saturn, first attested in Mesopotamia and followed by the Greeks and Hindus: the long-standing problem of Saturn’s baffling association with the Sun; and why Saturn was deemed to be “black”. After an extensive consideration of explanations offered from the 5th century to the 21st, as well as some new “thought experiments”, we suggest that Saturn’s connection with the Sun had its roots in the observations that Saturn’s course appears to be the steadiest one among the planets and that its synodic period – of all the planets – most closely resembles the length of the solar year. For the black colour attributed to Saturn we propose a solution which is partly lexical and partly observational (due to atmospheric effects). Finally, some thoughts are offered on the question why in Hellenistic times some considered the “mock sun” Phaethon of Greek myth to have been Saturn]. Keywords: Saturn, planets, Sun, planet colour. 1. INTRODUCTION Since the late 19th century scholars have been puzzled by a conspicuous peculiarity in the Babylonian nomenclature for the planet Saturn: a number of texts refer to Saturn as the “Sun” ( dutu/20 or Šamaš ), instead of its usual astronomical names Kayam ānu and mul UDU.IDIM. 1 This curious practice was in vogue during the period c. 750-612 BC 2 and is not known from earlier periods, with a single possible exception, discussed below. -
Ancient Rome
HISTORY AND GEOGRAPHY Ancient Julius Caesar Rome Reader Caesar Augustus The Second Punic War Cleopatra THIS BOOK IS THE PROPERTY OF: STATE Book No. PROVINCE Enter information COUNTY in spaces to the left as PARISH instructed. SCHOOL DISTRICT OTHER CONDITION Year ISSUED TO Used ISSUED RETURNED PUPILS to whom this textbook is issued must not write on any page or mark any part of it in any way, consumable textbooks excepted. 1. Teachers should see that the pupil’s name is clearly written in ink in the spaces above in every book issued. 2. The following terms should be used in recording the condition of the book: New; Good; Fair; Poor; Bad. Ancient Rome Reader Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial—You may not use this work for commercial purposes. Share Alike—If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. -
Roman Gods and Goddesses
History Romans History | LKS2 | Romans | Gods and Goddesses | Lesson 5 Aim • I can understand what religious beliefs the Romans had and know about some of the gods and goddesses that they worshipped. SuccessSuccess Criteria • IStatement can explain 1 Lorem the different ipsum dolor elements sit amet of Roman, consectetur religion. adipiscing elit. • IStatement can tell you 2 the names of some of the main Roman gods and • Sub statement goddesses and write about what they represented to the Roman people. Roman Religion In the earlier Roman times, the Roman people believed in many different gods and goddesses whom they believed controlled different aspects of their lives. They did not have a central belief system of their own as such, but rather borrowed gods, rituals and superstitions from a number of sources and adapted them to suit their own needs. The Romans believed in good and bad omens and they performed many rituals in the hope of receiving good luck. Prayer and sacrifice was important and the Romans held festivals every month to honour the gods. They would worship their gods and goddesses at temples. Elements of Religion Read through the Roman religion information text. Discuss the words below with your partner and work out what they mean. You can use dictionaries to help you. Why did the Romans have/do these things? omen prayer ritual superstition sacrifice festivals worship Roman Gods and Goddesses The Romans had lots of gods and goddesses. Many of their gods and goddesses are the same as the Greek gods, but with different names. They make things very confusing! We are going to look at some of the more popular Roman gods and goddesses. -
Black Paintings of Goya ~ Ebook Black Paintings of Goya Scala - Black Paintings
1857592735 < Black paintings of Goya ~ eBook Black paintings of Goya Scala - Black Paintings Description: - - Consolation. Christian life. Jesus Christ -- Person and offices. Cookery, American Recreation areas -- Economic aspects. United States -- Economic conditions -- 1945- Taxation -- United States Goya, Francisco, -- 1746-1828 -- Criticism and interpretationblack paintings of Goya -black paintings of Goya Notes: Includes bibliographical references and index This edition was published in 2003 Filesize: 24.107 MB Tags: #Goya #and #the #Black #Paintings Goya's terrifying Black Paintings Leadership requires something much less tangible: influence. There he lived with Leocadia Weiss, although she was still married to another. The Mystery and Terror of Francisco Goya's Black Paintings Following his death, the paintings were removed from the walls and may be seen today in the Prado Museum in Madrid. The gruesome painting features the mythical god emerging from the darkness with bulging mad-like eyes as his fingers dig into his child, whose head and arm have been partially consumed. The Mystery and Terror of Francisco Goya's Black Paintings They were pessimistic paintings that differed wildly from his earlier works, apparently created for his own sake. Junquera argues that the second floor of the dining room and the location of half the Black Paintings was added on after Goya's death. Goya’s Black Paintings Goya's most horrific painting Saturn Devouring His Son detail Image source: Wikimedia Commons The most famous of the Black Paintings is, without a doubt,. The Mystery and Terror of Francisco Goya's Black Paintings But there are additional details that suggest Goya did not paint these images. -
TinkerIng Gods
THE NGY REVIEW, 16 Dec. 2018 Tinkering Gods The Plot of Paul Harding’s novel, Tinkers : Characters as Metaphors for the Gods in Greek and Roman Mythology by C. Omaña Villanueva Paul Harding was a drummer in a rock band on tour of Europe when he made the choice to write. He had always been a prolific reader, but during one of his road trips between gigs he read a title that seemed to encompass all of humanity. His band broke up and it was then and there that he decided to write. He signed up for a summer writing workshop at Skidmore College and his teacher, Marilynne Robinson, steered him toward the Iowa Writers’ Workshop (Harding, interview). In his first book, Tinkers, Harding describes the inner workings of the death of an old man. But in doing so, Harding uses such formidable descriptions and symbolic language that his work can be interpreted in multiple ways. Here, I propose that the three main characters of Harding’s prose, George, his father Howard, and the minister (the unnamed father of Howard), can be interpreted as metaphors for the gods, Cronus/Saturn, Uranus/Caelus, and Hermes/Mercury of Greek and Roman Mythology. THE NGY REVIEW (16 Dec. 2018) ・Omaña Villanueva What does the reader do with the plot of this book? It is a story that made “absolutely” all agents avoid taking on the book (Harding, interview). What is the appeal for the reader? Regarding plot in general, Bell states that “the one thing you will have no matter how lousy” is plot. -
ARTS 5306 Crosslisted with 4306 Baroque Art History Fall 2020
ARTS 5306 crosslisted with 4306 Baroque Art HIstory fall 2020 Instructor: Jill Carrington [email protected] tel. 468-4351; Office 117 Office hours: MWF 11:00 - 11:30, MW 4:00 – 5:00; TR 11:00 – 12:00, 4:00 – 5:00 other times by appt. Class meets TR 2:00 – 3:15 in the Art History Room 106 in the Art Annex and remotely. Course description: European art from 1600 to 1750. Prerequisites: 6 hours in art including ART 1303 and 1304 (Art History I and II) or the equivalent in history. Text: Not required. The artists and most artworks come from Ann Sutherland Harris, Seventeenth Century Art and Architecture. Upper Saddle River, NJ: Pearson, Prentice Hall, 2e, 2008 or 1e, 2005. One copy of the 1e is on four-hour reserve in Steen Library. Used copies of the both 1e and 2e are available online; for I don’t require you to buy the book; however, you may want your own copy or share one. Objectives: .1a Broaden your interest in Baroque art in Europe by examining artworks by artists we studied in Art History II and artists perhaps new to you. .1b Understand the social, political and religious context of the art. .2 Identify major and typical works by leading artists, title and country of artist’s origin and terms (id quizzes). .3 Short essays on artists & works of art (midterm and end-term essay exams) .4 Evidence, analysis and argument: read an article and discuss the author’s thesis, main points and evidence with a small group of classmates. -
Calendar of Roman Events
Introduction Steve Worboys and I began this calendar in 1980 or 1981 when we discovered that the exact dates of many events survive from Roman antiquity, the most famous being the ides of March murder of Caesar. Flipping through a few books on Roman history revealed a handful of dates, and we believed that to fill every day of the year would certainly be impossible. From 1981 until 1989 I kept the calendar, adding dates as I ran across them. In 1989 I typed the list into the computer and we began again to plunder books and journals for dates, this time recording sources. Since then I have worked and reworked the Calendar, revising old entries and adding many, many more. The Roman Calendar The calendar was reformed twice, once by Caesar in 46 BC and later by Augustus in 8 BC. Each of these reforms is described in A. K. Michels’ book The Calendar of the Roman Republic. In an ordinary pre-Julian year, the number of days in each month was as follows: 29 January 31 May 29 September 28 February 29 June 31 October 31 March 31 Quintilis (July) 29 November 29 April 29 Sextilis (August) 29 December. The Romans did not number the days of the months consecutively. They reckoned backwards from three fixed points: The kalends, the nones, and the ides. The kalends is the first day of the month. For months with 31 days the nones fall on the 7th and the ides the 15th. For other months the nones fall on the 5th and the ides on the 13th.