Group items tagged

"The first major exhibition in forty-five years devoted to the Burgundian Netherlandish artist Jan Gossart (ca. 1478-1532) brings together Gossart's paintings, drawings, and prints and places them in the context of the art and artists that influenced his transformation from Late Gothic Mannerism to the new Renaissance mode. Gossart was among the first northern artists to travel to Rome to make copies after antique sculpture and introduce historical and mythological subjects with erotic nude figures into the mainstream of northern painting. Most often credited with successfully assimilating Italian Renaissance style into northern European art of the early sixteenth century, he is the pivotal Old Master who changed the course of Flemish art from the Medieval craft tradition of its founder, Jan van Eyck (ca. 1380/90-1441), and charted new territory that eventually led to the great age of Peter Paul Rubens (1577-1640). "

"The Mourners: Medieval Tomb Sculptures from the Court of Burgundy. March 2, 2010-May 23, 2010. Medieval Sculpture Hall. The renovation of the Musée des Beaux-Arts in Dijon provides an opportunity for the unprecedented loan of the alabaster mourner figures from the tomb of John the Fearless, Duke of Burgundy, and his wife, Margaret of Bavaria. Each of the statuettes is approximately sixteen inches high. They were carved by Jean de La Huerta and Antoine Le Moiturier between 1443-1456 for the ducal tomb originally in the church of Champmol, and they follow the precedent of the mourner figures carved by Claus Sluter and colleagues for the tomb of Duke Philip the Bold (1342-1404). The tombs are celebrated as among the most sumptuous and innovative of the late Middle Ages. The primary innovation was the space given to the figures of the grieving mourners on the base of the tomb, who seem to pass through the real arcades of a cloister."

"Engravings are objects of exquisite beauty and incomparable intricacy whose visual language is composed entirely of lines. From 1480 to 1650 Renaissance and Baroque (Early Modern) engravers made dramatic and rapid visual changes to the technique of engraving as they responded to the demands of reproducing artworks. ‚The Brilliant Line' follows these visual transformations and offers new insight intothe special inventiveness and technical virtuosity of Early Modern engravers."

"Melvyn Bragg and guests discuss the culture of the Baroque. What do the music of Bach, the Colonnades of St Peter's, the paintings of Caravaggio and the rebuilding of Prague have in common? The answer is the Baroque - a term used to describe a vast array of painting, music, architecture and sculpture from the 17th and 18th centuries. Baroque derives from the word for a misshapen pearl and denotes an art of effusion, drama, grandeur and powerful emotion. Strongly religious it became the aesthetic of choice of absolute monarchs. But the more we examine the Baroque, the more subtle and mysterious it becomes. It is impossible to discuss 17th century Europe without it, yet it is increasingly hard to say what it is. It was coined as a term of abuse, denounced by thinkers of the rational Enlightenment and by Protestant cultures which read into Baroque the excess, decadence and corruption they saw in the Catholic Church. With Tim Blanning, Professor of Modern European History and Fellow of Sidney Sussex College, University of Cambridge; Nigel Aston, Reader in Early Modern History at the University of Leicester and Helen Hills, Professor of Art History at the University of York."

Auf dieser Internet-Präsenz finden Sie die im Rahmen des Projektes »Sandrart.net« erarbeitete Online-Edition der von Joachim von Sandrart verfassten »Teutschen Academie« und der »Iconologia Deorum«, die von 1675 bis 1680 publiziert wurden.\n\nIn den grundlegenden Dingen unterscheidet sich diese Edition nur wenig von einer ›klas­sischen‹ Edition in Buchform: der Originaltext ist - abgesehen von vorsichtigen editorischen Anpassungen - unverändert abrufbar, wahlweise durch seitenweises Blättern wie auch durch gezielten Einstieg über die Gliederung. Auch die im Original­werk enthaltenen Kupferstiche können angezeigt werden.\nSelbstverständlich ist diese Edition in vergleichbarer Weise zitierbar, wie Sie es von gedruckter Literatur gewohnt sind; hierzu besitzt jede Seite eine dauerhafte und ein­deu­tige Adresse (»PURL«), die eine genaue Zitation erleichtert.

"But it is now the quadricentennial of Milton's birth in 1608, and it is startling that this work, once central to the literary and religious experience of the English-speaking world, is so much a curiosity, sentenced to the margins by its preoccupations with biblical interpretation, condemned by the density of its prosody, which does not instantly seduce but, instead, commands the reader to give way before it, persisting until no resistance is possible. So perhaps the most we can expect is the library's modest, one-room exhibition "John Milton at 400: A Life Beyond Life."

Au lendemain de la paix de Nimègue qui met fin à la guerre de Hollande, Louis XIV vient de faire de la France la plus florissante monarchie du monde. Il est aussi le protecteur des sciences et des arts et les deux globes que Coronelli lui dédie magnifient l'image d'un monde pacifié qui lui offre, grâce au commerce et à la navigation, toutes les ressources des contrées les plus lointaines.\nLes Globes de Louis XIV devaient présenter les connaissances scientifiques de l'époque, mais aussi célébrer la gloire du Roi, témoigner de sa mission "terrestre" comme de son origine "céleste".

"Aside from information about the history, the objectives and the workings of our organisation, this site offers a comprehensive overview of the research projects and activities carried out since the start of the Alamire Foundation in 1991. Short summaries and practical information concerning the scientific publications are provided. If you want to stay informed of our oncoming activities, please take a look at the calendar."