This painting of TIZIANO, also known as 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' has a complicated provenance and was seemingly very popular, given the many known repetitions (drawings, copies, engravings). It was in the beginning of the 17th century in the collection of Charles I, where it was copied several times. It was finally sold to Louis XIV and entered the Musée du Louvre in 1785.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
Venus and Tannhäuser Part II : from 1886 to 1910K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
TIZIANO's 'Amor sacro e Amor-profano' and its repetitions Part IIK. Bender
The repetitions from 1900 to the present.
See further details in 'Iconography in Art History'
http://kbender.blogspot.be/2014/08/deja-vu-2-repetitions-of-tizianos-amor.html?view=magazine
Venus and Tannhäuser Part II : from 1886 to 1910K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Part I of a series of posts exploring how 'love and music' is depicted in art history, with special reference to the iconography of Aphrodite-Venus, the Greek-Roman Goddess of Love. Music cannot be far away because 'music is the food of love'.
For a full discussion, see Blog 'Iconography in Art History'
http://kbender.blogspot.be/?view=magazine
A 2000-year old Roman wall decoration frieze known as the 'Aldobrandini Wedding (Nozze Aldobrandini)' was discovered in 1605 on the Esquiline Hill in Rome and soon transferred to a villa on the Quirinal Hill, possession of the Aldobrandini family, hence its name. Since 1818 it belongs to the Biblioteca Apostolica Vaticana in Rome. It was popular among artists of the 17th-19th centuries. See more about it my post of November 8, 2014 'Nuptial Allegory or the Aldobrandini Wedding' http://kbender.blogspot.be/2014/11/nuptial-allegory-or-aldobrandini-wedding.html?view=magazine
Venus and Tannhäuser Part III : from 1911 to 2005K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
Venus and Tannhäuser Part I : from 1852 to1885K. Bender
The iconography of "Venus and Tannhäuser in the Venusberg" as seen by 49 visual artists. Slide presentation in three parts:
I from 1852 to 1885
II from 1886 to 1910
III from 1911 to 2005
Slides were uploaded as PDFs generated in the corresponding 'myHistro story'
View the timeline of all artists in my post of January 30, 2015 'Tannhäuser the villain! He has been in the Venusberg!'
http://kbender.blogspot.be/2015/01/tannhauser-villain-he-has-been-in.html
There the myHistro story is automatically shown with 1) text (read more) and references to the information source(s), 2) pictures, 3) videos and 4) geo-maps.
You can also move the timeline with the cursor and click any name in the timeline graph; or you can click any icon on the geo-maps.
The Louvre is an important museum in the world. It has a huge collection, including historical artifacts from the civilization of the Middle East to European heritage. In addition is a gallery of sculptures and most famously it paintings, including Leonardo’s Mona Lisa. But not possible for anyone to go through its entire collection in one day. So you need to plan you visit to get the best out of its collection. Unless you have some special interest, it is best to see its painting collection, otherwise you never feel you have been to the Louvre. 31 Aug 2021.
This slideshow show is an introduction to the most significant painters of the West, up to the end of the 19C. There are other painters that I have not been included like Rembrandt, to cut down the length (or size) of the slideshow. Each painter included in the slideshow is represented by a single painting of their work.
Somehow Vermeer’s paintings manage to transcend time and place. They may have been created several hundred years ago, but they are almost shockingly present.
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4745536-balcony-paintings/
This presentation offers a consistent metaphor to help the assimilation of the Cynefin Framework and its components consisting of Simple, Complicated, Complex, Chaos and Disorder domains. Understanding the Framework should make it easier to outline a suitable strategy for each domain. Instituting mental order by expressing what is central heralds the most creative works.
This is in accordance with the findings that many valuable innovations are brought about through an ‘order emerging from chaos’ type of principle, without any specific problem to solve being outlined initially. For this reason, aspects of complexity theory have been looked at in addition to the motivational factors that drive innovation where it has not been asked for specifically (http://www.bath.ac.uk/idmrc/themes/projects/cbdo/DT-Project-TRIZComplex.pdf).
The Louvre is an important museum in the world. It has a huge collection, including historical artifacts from the civilization of the Middle East to European heritage. In addition is a gallery of sculptures and most famously it paintings, including Leonardo’s Mona Lisa. But not possible for anyone to go through its entire collection in one day. So you need to plan you visit to get the best out of its collection. Unless you have some special interest, it is best to see its painting collection, otherwise you never feel you have been to the Louvre. 31 Aug 2021.
This slideshow show is an introduction to the most significant painters of the West, up to the end of the 19C. There are other painters that I have not been included like Rembrandt, to cut down the length (or size) of the slideshow. Each painter included in the slideshow is represented by a single painting of their work.
Somehow Vermeer’s paintings manage to transcend time and place. They may have been created several hundred years ago, but they are almost shockingly present.
you can download my presentations at
http://www.authorstream.com/MyUploaded-Presentations/All
http://www.authorstream.com/Presentation/guimera-4745536-balcony-paintings/
This presentation offers a consistent metaphor to help the assimilation of the Cynefin Framework and its components consisting of Simple, Complicated, Complex, Chaos and Disorder domains. Understanding the Framework should make it easier to outline a suitable strategy for each domain. Instituting mental order by expressing what is central heralds the most creative works.
This is in accordance with the findings that many valuable innovations are brought about through an ‘order emerging from chaos’ type of principle, without any specific problem to solve being outlined initially. For this reason, aspects of complexity theory have been looked at in addition to the motivational factors that drive innovation where it has not been asked for specifically (http://www.bath.ac.uk/idmrc/themes/projects/cbdo/DT-Project-TRIZComplex.pdf).
Metaphor and Representation in Two Frames: Both Formal and Frame Semantics Vasil Penchev
A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a “wave function” in Hilbert space
The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered
A series of formal definitions is deduced from this for: “representation”, “reality”, “language” “ontology”. All are based on Hilbert space
A few statements about a quantum computer are implied:
The so-defined reality is inherent and internal to it
It can report a result only “metaphorically”
It will demolish transmitting the result “literally”, i.e. absolutely exactly
A new and different formal definition is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above
The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought
Anatomy of Metaphors - the Ultimate Guide to Creating a Powerful MetaphorLucia Trezova
How to make an insightful metaphor? What is metaphor's structure? How are metaphors construed, understood? How to use them effectively in marketing communication, in advertising?
Students will enjoy reviewing and practicing the literary concepts of simile, metaphor, personification, hyperbole and irony with this great PowerPoint presentation. Animations, examples, and terrific practice passages. Perfect for middle school.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Fed by curiosity and beauty - Remembering Myrsine Zorba
TIZIANO's 'Allegory of marriage' (1533) and its many repetitions till the 19th century
1. TIZIANO's 'Allegory of marriage'
The original of 1533 and its repetitions till the 19th century
Story by: K. Bender
2. Vecellio, TIZIANO: Allégorie conjugale, dit à tort Alphonse d'Avalos
1533
Painting by Tiziano Vecellio (c1488 Pievi di Cadore-1575 Venezia) dated ca. 1533, oil on canvas, 121 x 107 cm, since 1785
in the Louvre in Paris, inventory n°754.
The painting has long been known as depicting Alfonso d'Avalos, marquis del Vasto, military commander in Italy of the
Emperor Charles V, with his wife Marie d'Aragon. It is now simply entitled an allegory of marriage, where 'Mars (in
armour), Venus with Cupid and his arrows, and two other females, maybe representing Hymen and Fortuna' are depicted.
A preparatory drawing, 100 x 101 cm, with some differences, is also owned by the Musée du Louvre, inventory n°754 bis.
Musée du Louvre, Paris.
More about this painting and its provenance in 'Iconography in Art History'
3. Venetian School: Allégorie d'Alfonso d'Avalos, marquis del Vasto
1576
Oil on canvas, 129 x 100 cm in Montauban, Musée Ingres, inventory MI.843.3.4 Date of acquisition 1843.
4. Flemish School: Allégorie présumée en l'honneur d'Alphonse
d'Avalos, marquis del Guasto
1600 - 1699
A drawing, 17,5 x 19,5 cm, also attributed to the School of RUBENS.
Musée du Louvre, INV 20397, Recto
5. Venetian School: Allégorie conjugale
1600 - 1699
A drawing, 17th century, 23,8 x 26,4 cm, which was sold in Paris, 18-28 January 1779 as 'Titien / Ecole Venitienne'.
Since 1796-1797 in Musée du Louvre, INV 21879, recto
6. OLIVER, Peter: The d?Avalos allegory
1629
A miniature by Peter OLIVER (c1594-1647), made for Charles I in 1629 who had bought TIZIANO's painting in Spain.
Probably lost, but known through a copy by David DES GRANGES made in 1640.
Ref. Millar, O (1960): 'Abraham van der Doort's catalogue of the collection of Charles I.' The Walpole Society Vol. 37, 1958-
60, p.104, n°10.
7. DES GRANGES, David: The d'Avalos allegory
1640
Watercolour and bodycolour on vellum by David DES GRANGES (1611?1671 or'72), made in 1640, after Peter OLIVER?s
miniature.
Richmond, Ham House
Public Catalogue Foundation Vol. National Trust V - South
8. Anonymous : An allegory of marriage, in honour of Alfonso d'Avalos,
marchese del Vasto
1650
Dated 17th century, entitled 'An allegory of marriage, in honour of Alfonso d'Avalos, marchese del Vasto' oil on canvas, 122
x 92 cm, in Petworth House Petworth, West Sussex, England, Accession number: 485086
Collection: National Trust, on loan from the Egremont Private Collection
9. NATALIS, Michel: Vénus et Mars, portrait d'Alfonso de Avalos,
marquis de Guast
1650 - 1660
Engraving, 48,5 x 38 cm, dated 1650--60, by Michel NATALIS (c1612 Liège-1690).
Liège, Collections artistiques de l'Université de Liège
Also in British Museum, Registration number: 1917,1208.537, entitled: 'Allegory in honour of Alfonso d'Avalos', dated 1626-
1668, 32 x 27.3 cm.
Entitled: 'The Marquis del Guasto, with his Mistress represented as Venus ; after Titian' in Bryan's Dictionary of painters and
engravers. Vol.4, p.6. Williamson G C (1903). Bell & Sons, London.
10. Anonymous: The allegory of Alfonso D'Avalos
1650
Dated 1610-90, entitled 'The allegory of Alfonso D'Avalos' oil on canvas, 103.9 x 107.6 cm. First recorded in the Royal
Collection during the reign of Queen Victoria.
Royal Collection, RCIN 402910.
11. MATTIOLI, Ludovico : Allegoria di Alfonso d'Avalos
1700
Ca 1700, engraving, 21,2 x 20,9 cm by Ludovico MATTIOLI (1662 Crevalcore-1747 Bologna).
Venezia, Museo Correr, inventory D49-8
Ref. Chiari M (1982) 'Incisioni da Tiziano - Catalogo del fondo grafico a stampa del Museo Correr', Venezia, p.160, nr.186.
12. FILHOL, Antoine-Michel : Portrait d'Alphonse d'Avalos et de sa
maitresse
1814
Illustration by Antoine-Michel FILHOL (1759 Paris-1812) in 'Cours historique et élémentaire de peinture, ou Galerie
complette du Museum central de France. Tome 10 / , par une Société d'amateurs et d'artistes' Pl III (711) livraison 115.
Bibliothèque Nationale de France, Gallica
13. MILLER, Alfred Jacob : Allegory of Alfonso d'Avalos, Marchese del
Vasto
1833
ca.1833, oil on canvas, 114.2 x 106.7 cm, by the American artist Alfred Jacob MILLER (1810-1874), most likely completed
while Miller was a student in Paris.
Baltimore, Walters Art Museum, inventory 37.2594
14. Anonymous: Portrait d'Alphonse d'Avalos Marquis del Vasto et de sa
maîtresse
1835
Oil on canvas, 64.5 x 53.5 cm. Date of acquisition: 1835.
No image available.
Troyes : Musée d'art d'archéologie et de sciences naturelles. Numéro d'inventaire 835.37
15. Anonymous: Allegory of marriage (Allegory of Alfonso d'Avalos)
1850
An eighteenth-century copy, oil on canvas, 107.5 by 104.5 cm.
Auction 'Old Masters' 29 October 2014 in London, Sotheby lot 410.
16. Anonymous: Allegory of Alfonso d'Avalos, marchese del Vasto
1850
A 19th century copy after TIZIANO, oil on canvas, 117.48 x 106.04 cm.
On auction New York, Sotheby lot n°360, Oct 28, 1998, described as 'signed and inscribed lower left: d'apres Titien/H de
Yivefay Wyatt'
MutualArt
17. THEVENIN, Jean Charles : Allégorie en l'honneur d'Alphonse
d'Avalos, marquis de Guast
1867
Etching and engraving, 51,8 x 42,1 cm, by Jean Charles THEVENIN (1819 - 1869).
Paris, Musée du Louvre inventory 584 C/ Recto
Also in London, British Museum number 1891,0511.64
18. HERTZBERG, Axel Gustaf: Markis Alfonso d'Avalos och hans
älskarinna
1869
'Marquis Alfonso d'Avalos and his mistress' oil on canvas, 120 x 106 cm, by Axel Gustaf HERZBERG (1832 Jämtland -
1878 Düsseldorf).
Helsinki, Ateneum, inventory A I 411
19. THE END
This presentation was generated by myHistro.com
Author: K. Bender