Review of monograph of Jusepe de Ribera by Javier Portus.
Read the accompanying report on Deborah Feller's blog:
http://www.deborahfeller.com/news-and-views/
Review of monograph of Jusepe de Ribera by Javier Portus.
Read the accompanying report on Deborah Feller's blog:
http://www.deborahfeller.com/news-and-views/
Possessing Strangeness: Don Fernando Enríquez Afán de Ribera and Jusepe de Ri...DFeller2
Jusepe de Ribera, a Spanish artist who moved to Rome at age 15, was in the Spanish ruled, Italian city of Naples from age 25 till his death at 51. Early in his life there, his patron--the Viceroy of that territory, the Duke of Alcalá--commissioned him to paint a local oddity, the bearded lady. The paper that is accompanied by this slide show can be found on www.deborahfeller.com. Click on "Art Historian."
Jacob Jordaens was one of three Flemish Baroque painters, along with Peter Paul Rubens and Anthony van Dyck, to bring prestige to the Antwerp school of painting. Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder. Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life.
Possessing Strangeness: Don Fernando Enríquez Afán de Ribera and Jusepe de Ri...DFeller2
Jusepe de Ribera, a Spanish artist who moved to Rome at age 15, was in the Spanish ruled, Italian city of Naples from age 25 till his death at 51. Early in his life there, his patron--the Viceroy of that territory, the Duke of Alcalá--commissioned him to paint a local oddity, the bearded lady. The paper that is accompanied by this slide show can be found on www.deborahfeller.com. Click on "Art Historian."
Jacob Jordaens was one of three Flemish Baroque painters, along with Peter Paul Rubens and Anthony van Dyck, to bring prestige to the Antwerp school of painting. Like Rubens, Jordaens painted altarpieces, mythological, and allegorical scenes, and after 1640—the year Rubens died—he was the most important painter in Antwerp for large-scale commissions and the status of his patrons increased in general. However, he is best known today for his numerous large genre scenes based on proverbs in the manner of his contemporary Jan Brueghel the Elder. Jordaens never made the traditional trip to Italy to study classical and Renaissance art. Despite this, he made many efforts to study prints or works of Italian masters available in northern Europe. His work, however, betrays local traditions, especially the genre traditions of Pieter Bruegel the Elder, in honestly depicting Flemish life with authenticity and showing common people in the act of celebratory expressions of life.
17th Century Art in EuropeCounter-Reformation.docxRAJU852744
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez.
17th Century Art in EuropeCounter-Reformation.docxaulasnilda
17th Century Art in Europe
Counter-Reformation
St. Ignatius of Loyola – Society of Jesus
Counter-Reformation
Art as propaganda
Art as reinvigorator of belief/practice
Spiritual ecstasy
Sculpture: Bernini
St. Teresa of Avila in Ecstasy, Cornaro Chapel, Church of Santa Maria della Vittoria, Rome. 1645-1652. Marble, 11’ 6”.
What IS Baroque?
STYLE featuring:
Drama/theatricality
Intensity of emotion to draw in viewer
Extreme skill
Naturalism
Using gestures and expressions to tell a story
Dark and light contrasts (chiaroscuro)
Off-balance
Bringing the everyday into religious scenes
Baroque in Europe
France: resurgence of classicism
Monarchy
Counter-Reformation
Netherlands: portraiture, still life, landscape, and genre
St. Peter’s Basilica & Piazza, Vatican, Rome
Pope Paul V Borghese (pontificate 1605-1621)
Longitudinal nave and new facade
Carlo Maderno, Façade of St. Peter’s, 1607-1626
Gianlorenzo Bernini (1598-1680)
Baldacchino, St. Peter’s Basilica, Vatican, Rome. 1624-1633. Gilt bronze, 100’.
Cathedra Petri, 1657-1666, gilt bronze, marble, stucco, and glass.
https://www.youtube.com/watch?v=iSH2H0xZPOw
Bernini
https://www.youtube.com/watch?v=1JNjZTx_OsQ
David. 1623, Marble, 5’ 7”, Galleria Borghese, Rome.
Francesco Borromini, Façade of the Church of San Carlo alle Quattro Fontane, Rome, 1638-67.
Dome and Plan, San Carlo alle Quattro Fontane
https://www.youtube.com/watch?v=ixo_SLkblB4
Caravaggio
Bacchus, 1595-1596. Oil on canvas, 37” x 33.5”, Galleria degli Uffizi, Florence.
https://www.google.com/culturalinstitute/beta/asset/the-adolescent-bacchus/dAEBrgRq5AvsQA
Caravaggio
Caravaggio, The Calling of St. Matthew, Contarelli Chapel, church of San Luigi dei Francesi, Rome. 1599-1600. Oil on canvas, 10’ 7.5” x 11’ 2”.
Tenebrism
Caravaggio
The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome, c. 1601. Oil on canvas, 7’ 6” x 5’ 8”
https://www.google.com/culturalinstitute/beta/asset/der-ungl%C3%A4ubige-thomas/OAEjjQkNdRL9sg
Artemisia Gentileschi
Judith Beheading Holofernes, c. 1619-20. Oil on canvas, 6’ 63/8” x 5’ 4”, Galleria degli Uffizi, Florence.
Giovanni Battista Gaulli
Worked for Bernini, who worshiped at Il Gesu
Illusionistic Baroque ceiling
Giovanni Battista Gaulli, The Triumph of the Name of Jesus and Fall of the Damned,
Vault of the church of Il Gesù, Rome, 1672-1685. Fresco with stucco figures
Quadratura
Di sotto in sù
Spain
Juan Sánchez Cotán, Still Life with Quince, Cabbage, Melon, and Cucumber, c. 1602. Oil on canvas, 27 1/8” x 33 ¼”. San Diego Museum of Art.
Jusepe de Ribera, Martyrdom of St. Bartholomew, 1634. Oil on canvas, 1.05 x 1.14 m.
Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 41 ½” x 31 ½” . Victoria and Albert Museum, London.
Diego Velázquez, The Surrender at Breda (The Lances), 1634-1635. Oil on canvas, 10’7/8” x 12’ ½”. Museo del Prado, Madrid.
Diego Velázquez ...
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Students, digital devices and success - Andreas Schleicher - 27 May 2024..pptxEduSkills OECD
Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
3. Peter Paul
Rubens
• The Equestrian
Portrait of the Duke
of Lerma. 1603. Oil on
canvas. Museo del
Prado, Madrid,
4. Peter Paul
Rubens
• St. George and the
Dragon, 1606-07,
oil on canvas,
Museo del Prado,
Madrid
5. Peter Paul
Rubens
• Rubens and
Isabella Brant in the
Honeysuckle Bower
• c. 1609
• 178 × 136,5
• Alte Pinakothek,
• de: München
6. Peter Paul
Rubens
• Self-portrait
with Justus
Lipsius, Philip
Rubens, and
Jan Wowerius,
known as The
Four
Philosophers
c. 1611-12
Oil on panel
167 x 143 cm
Pitti, Florence
7. • The Four Parts of the World.
c.1612-1614. Oil on canvas.
Kunsthistorisches Museum,
Vienna
Peter Paul Rubens
8. Peter Paul
Rubens
• The Descent from the
Cross (central part of
the triptych).
1611-1614. 421 × 311
Oil on panel.
Cathedral, Antwerp,
Belgium
9. Peter Paul
Rubens
• Venus at a Mirror.
c.1615. 124 × 98 Oil
on panel. Sammlung
Fürst von
Liechtenstein,
Vaduz,
Liechtenstein
10. • Hippopotamus Hunt (1616)
• 1615-1616
• 248 × 321
• Alte Pinakothek, Peter Paul
• de: München
Rubens
11. Peter Paul
Rubens
• The Union of Earth
and Water. c.1618.
Oil on canvas.
222.5 x 180.5 The
Hermitage, St.
Petersburg
12. Peter Paul
Rubens
• Head of a Girl. 1618.
Oil on canvas
Fürstlich
Lichtensteinische
Gemäldegalerie,
• de: Vaduz 37 × 27
13. Peter Paul
Rubens
• Castor and
Pollux
Abduct the
Daughters of
Leukyppos.
c.1618. 224 x
210.5 Oil on
canvas. Alte
Pinakothek,
Munich
14. • The Adoration of the
Magi, 1617-18, oil on
canvas, Musée des
Beaux-Arts, Lyons Peter Paul Rubens
15. Peter Paul
Rubens
• Portrait of a Boy
(Nicholas Rubens).
1619. Chalk on
paper
16. • Perseus and
Andromeda.
c.1620-1621. Oil on
canvas. The
Hermitage, St. Peter Paul Rubens
17. Peter Paul Rubens
• The Fate Spinning Marie's
Destiny
1622-25
Oil on canvas, 394 x 153 cm
Musée du Louvre, Paris
18. Peter Paul
Rubens
• The Meeting of
Marie de Médicis
and Henri IV at Lyon
1622-25
Oil on canvas, 394 x
295 cm
Musée du Louvre,
Paris
19. Peter Paul
Rubens
• The Landing at
Marseilles. 394 × 295
1621-1625. Oil on
canvas. Louvre, Paris
23. • Coronation of Marie
de' Medici. 1621-1625.
Oil on canvas.
Louvre, Paris Peter Paul Rubens
24. • The Council of the
Gods. 1621-1625. 394
× 727 Oil on canvas. Peter Paul
Louvre, Paris
Rubens
25. Peter Paul Rubens
• The Triumph of Truth
• 1621-1625
• 394 x 160
• Oil on canvas
• Louvre, Paris
26. Peter Paul
Rubens
• Portrait of Marie de'
Medici. c.1622. Oil on
canvas. Museo del
Prado, Madrid
27. Peter Paul
Rubens
• Portrait of Susanne
Fourment ("Le Chapeau
de paille"). c.1625. 79 x 54
Oil on panel. National
Gallery, London,
28. • Return of the Peasants from the Fields.
1632-1634. 121 x 194 Oil on panel. Palazzo Peter Paul
Pitti, Galleria Palatina, Florence Rubens
29. • Dance of the Villagers
c. 1636
Oil on board Peter Paul
(73 x 106 cm)
Museo del Prado, Madrid Rubens
30. Peter Paul
Rubens
• Hélène Fourment with
two of her children
• c. 1636
• 113 × 82
• Musée du Louvre,
Paris
31. • Judgement of Paris, c.
1636, National
Gallery, London Peter Paul
Rubens
32. Peter Paul
Rubens
• The Three Graces.
c.1636-1638. 221 x
181 Oil on canvas.
Museo del Prado,
Madrid
33. Peter Paul Rubens
• The Little Fur (Helen Fourment,
the Second Wife to the Artist)
c. 1638
Oil on oak panel
176 x 83 cm
Kunsthistorisches Museum,
Vienna
34. • The Judgment of Paris.
c.1639. Oil on canvas.
Museo del Prado, Madrid
Peter Paul
Rubens
35. Peter Paul
Rubens
• Self-Portrait
without a Hat.
c.1639. Oil on
canvas. Galleria
degli Uffizi,
Florence
36. Peter Paul
Rubens
• Rubens, His Wife
Helena Fourment,
and Their Son Peter
Paul. c.1639. 203.8 x
158.1 Oil on panel.
The Metropolitan
Museum of Art,
New York
37. Peter Paul
Rubens
• Self-portrait
c. 1638-40
Oil on canvas
43 x 33 1/2 in (109.5
x 85 cm)
Kunsthistoriches
Museum, Vienna