Teodor Axentowicz - Cover Illustration for Weekly Illustrated No. 14, Warsaw, 1908

Hiroshi Yoshida (Japanese, 1876-1950) Twelve Scenes in the Japanese Alps: Kurobe River

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The Mycenaean civilization is divided into the following periods: ancient Mycenaean between 1,600 and 1,500 BCE, median Mycenaean between 1,500 and 1,400 BCE, and late Mycenaean between 1,400 and 1…

Published/ Created in Paris, for André Bocard, 12 Feb. 1453. The Ars Moriendi, or "art of dying," is a body of Christian literature that provided practical guidance for the dying and those attending them. These manuals informed the dying about what to expect, and prescribed prayers, actions, and attitudes that would lead to a "good death" and salvation. The first such works appeared in Europe during the early fifteenth century, and they initiated a remarkably flexible genre of Christian writing that lasted well into the eighteenth century. By 1400 the Christian tradition had well-established beliefs and practices concerning death, dying, and the afterlife. The Ars Moriendi packaged many of these into a new, concise format. In particular, it expanded the rite for priests visiting the sick into a manual for both clergy and laypeople. Disease, war, and changes in theology and Church policies formed the background for this new work. The Black Death had devastated Europe in the previous century, and its recurrences along with other diseases continued to cut life short. Wars and violence added to the death toll. The Hundred Years' War (1337–1453) between France and England was the era's largest conflict, but its violence and political instability mirrored many local conflicts. The fragility of life under these conditions coincided with a theological shift noted by the historian Philippe Ariès whereas the early Middle Ages emphasized humanity's collective judgment at the end of time, by the fifteenth century attention focused on individual judgment immediately after death. One's own death and judgment thus became urgent issues that required preparation. The two original versions of the Ars Moriendi initiated a long tradition of Christian works on preparation for death. This tradition was wide enough to accommodate not only Roman Catholic writers but also Renaissance humanists and Protestant reformers—all of whom adapted the Ars Moriendi to their specific historical circumstances. Yet nearly all of these authors agreed on one basic change: They placed the "art of dying" within a broader "art of living," which itself required a consistent memento mori, or awareness of and preparation for one's own death. The Ars Moriendi tradition remained strong within the Roman Catholic communities. In his 1995 book From Madrid to Purgatory, Carlos M. N. Eire documented the tradition's influence in Spain where the Ars Moriendi shaped published accounts of the deaths of St. Teresa of Avila (1582) and King Philip II (1598). In his 1976 study of 236 Ars Moriendi publications in France, Daniel Roche found that their production peaked in the 1670s and declined during the period from 1750 to 1799. He also noted the Jesuits' leading role in writing Catholic Ars Moriendi texts, with sixty authors in France alone. Perhaps the era's most enduring Catholic text was composed in Italy by Robert Bellarmine, the prolific Jesuit author and cardinal of the church. In 1619 Bellarmine wrote his last work, The Art of Dying Well. The first of its two books describes how to live well as the essential preparation for a good death. It discusses Christian virtues, Gospel texts, and prayers, and comments at length on the seven sacraments as integral to Christian living and dying. The second book, The Art of Dying Well As Death Draws Near, recommends meditating on death, judgment, hell, and heaven, and discusses the sacraments of penance, Eucharist, and extreme unction or the anointing of the sick with oil. Bellarmine then presents the familiar deathbed temptations and ways to counter them and console the dying, and gives examples of those who die well and those who do not. Throughout, Bellarmine reflects a continuing fear of dying suddenly and unprepared. Hence he focuses on living well and meditating on death as leading to salvation even if one dies unexpectedly. To highlight the benefits of dying consciously and well prepared, he claims that prisoners facing execution are "fortunate"; knowing they will die, they can confess their sins, receive the Eucharist, and pray with their minds more alert and unclouded by illness. These prisoners thus enjoy a privileged opportunity to die well. In 1534 the Christian humanist Erasmus of Rotterdam wrote a treatise that appeared in English in 1538 as Preparation to Death. He urges his readers to live rightly as the best preparation for death. He also seeks a balance between warning and comforting the dying so that they will be neither flattered into arrogant self-confidence nor driven to despair; repentance is necessary, and forgiveness is always available through Christ. Erasmus dramatizes the deathbed scene in a dialogue between the Devil and the dying Man. The Devil offers temptations to which the Man replies clearly and confidently; having mastered the arts of living and dying, the Man is well prepared for this confrontation. While recognizing the importance of sacramental confession and communion, Erasmus says not to worry if a priest cannot be present; the dying may confess directly to God who gives salvation without the sacraments if "faith and a glad will be present" (Atkinson 1992, p. 56). The Ars Moriendi tradition in England has been especially well documented. It includes translations of Roman Catholic works by Petrus Luccensis and the Jesuit Gaspar Loarte; Thomas Lupset's humanistic Way of Dying Well; and Thomas Becon's Calvinist The Sick Man's Salve. But one literary masterpiece stands out, which is Jeremy Taylor's The Rule and Exercises of Holy Dying. When Taylor published Holy Dying in 1651, he described it as "the first entire body of directions for sick and dying people" (Taylor 1977, p. xiii) to be published in the Church of England. This Anglican focus allowed Taylor to reject some elements of the Roman Catholic Ars Moriendi and to retain others. For example, he ridicules deathbed repentance but affirms traditional practices for dying well; by themselves the protocols of dying are "not enough to pass us into paradise," but if "done foolishly, [they are] enough to send us to hell" (Taylor 1977, p. 43). For Taylor the good death completes a good life, but even the best Christian requires the prescribed prayers, penance, and Eucharist at the hour of death. And Holy Dying elegantly lays out a program for living and dying well. Its first two chapters remind readers of their mortality and urge them to live in light of this awareness. In the third chapter, Taylor describes two temptations of the sick and dying: impatience and the fear of death itself. Chapter four leads the dying through exercises of patience and repentance as they await their "clergy-guides," whose ministry is described in chapter five. This bare summary misses both the richness of Taylor's prose and the caring, pastoral tone that led Nancy Lee Beaty, author of The Craft of Dying, to consider Holy Dying, the "artistic climax" of the English Ars Moriendi tradition (Beaty 1970, p. 197). Susan Karant-Nunn, in her 1997 book The Reformation of Ritual, documented the persistence of the Ars Moriendi tradition in the "Lutheran Art of Dying" in Germany during the late sixteenth century. Although the Reformers eliminated devotion to the saints and the sacraments of penance and anointing with oil, Lutheran pastors continued to instruct the dying and to urge them to repent, confess, and receive the Eucharist. Martin Moller's Manual on Preparing for Death (1593) gives detailed directions for this revised art of dying. Karant-Nunn's analysis can be extended into the eighteenth century. In 1728 Johann Friedrich Starck [or Stark], a Pietist clergyman in the German Lutheran church, treated dying at length in his Tägliches Hand-Buch in guten und bösen Tagen. Frequently reprinted into the twentieth century, the Hand-Book became one of the most widely circulated prayer books in Germany. It also thrived among German-speaking Americans, with ten editions in Pennsylvania between 1812 and 1829, and an 1855 English translation, Daily Hand-Book for Days of Rejoicing and of Sorrow. The book contains four major sections: prayers and hymns for the healthy, the afflicted, the sick, and the dying. As the fourth section seeks "a calm, gentle, rational and blissful end," it adapts core themes from the Ars Moriendi tradition: the dying must consider God's judgment, forgive others and seek forgiveness, take leave of family and friends, commend themselves to God, and "resolve to die in Jesus Christ." While demons no longer appear at the deathbed, the temptation to despair remains as the dying person's sins present themselves to "frighten, condemn, and accuse." The familiar remedy of contrition and forgiveness through Christ's passion comforts the dying. Starck offers a rich compendium of "verses, texts and prayers" for bystanders to use in comforting the dying, and for the dying themselves. A confident, even joyful, approach to death dominates these prayers, as the dying person prays, "Lord Jesus, I die for thee, I live for thee, dead and living I am thine. Who dies thus, dies well."

Ophelia By 𝑷𝒂𝒔𝒄𝒂𝒍 𝑨𝒅𝒐𝒍𝒑𝒉𝒆 𝑱𝒆𝒂𝒏 𝑫𝒂𝒈𝒏𝒂𝒏-𝑩𝒐𝒖𝒗𝒆𝒓𝒆𝒕, 1900.

[2] Blätter, 462 Seiten, [18] Blätter :

Walt Kuhn was inspired when he saw Munch’s work at the Cologne Sonderbund exhibition in fall 1912 and commented that the artist “paints big wild things, very crude but extremely powerful.” Kuhn wrote that he had secured “a couple” of Munch’s “pictures” for the Armory Show, presumably paintings. In the end, Munch did not send [...]

Vols. 11-12, 13-14, 15-16 issued combined

”Millainen työnjako teillä on?” kysyn Riitta Ikoselta Skypessä. Puhumme teossarjasta Eyes as…

Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 3 also. This is part 4 of a 12-part series on the works of Alphonse Mucha: 1899 'La Bise' 'February' Cocorico magazine © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'La Bise' photographic study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'Soleil' photographic study © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'Soleil' ink and wash on paper 40.8 x 32 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 (Soleil) 'April' Cocorico magazine © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'The Times of the Day' posters © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 The Times of the Day poster - 'Morning Awakening' lithograph 107.7 x 39 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 The Times of the Day poster - 'Brightness of Day' lithograph 107.7 x 39 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 The Times of the Day poster - 'Evening Contemplation' lithograph 107.7 x 39 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 The Times of the Day poster - 'Night's Rest' lithograph 107.7 x 39 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cover of 'L'Art Photogaphique' Publication Mensuelle 1900 lithograph 45.5 x 30.3 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Cover of 'L'Estampe Moderne' lithography 41.6 x 31.3 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1898 Cover of 'Le Mois' literary journal June 1899 lithography 24.1 x 16.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Decorative panel 'Aurore' 60 x 100 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1900 Postcard of 'Aurore' 9 x 14 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Decorative panel 'Crépuscule' 60 x 100 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1900 Postcard of 'Crépuscule' 9 x 14 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 La Chaleur ( Heat ) ink and wash on paper 40.8 x 32 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'Le Chant du Rossignol' ink and wash on paper 40.1 x 32.1 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 'Le Chant du Rossignol' June Cocorico magazine © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1906 Cover of 'Appleton's Magazine' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Le Pater: Mucha considered Le Pater his printed masterpiece, and referred to it in the January 5, 1900 issue of The Sun Newspaper (New York) as the thing he had "put [his] soul into". Printed on December 20, 1899, Le Pater was Mucha's occult examination of the themes of The Lord's Prayer and only 510 copies were produced. © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Posters for 'Moët et Chandon' © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Moët et Chandon - Champagne White Star' lithograph 60.8 x 23 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Moet et Chandon' Crémant Imperial lithograph 60.8 x 23cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Moët et Chandon menu © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Moët et Chandon menu © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Moët et Chandon menu © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Moët et Chandon menu © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Hamlet' Sarah Bernhardt at the Theatre Sarah Bernhardt lithograph 205.7 x 76.5 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Oesterreich' World Fair Paris 1900 lithograph 98.5 x 68 cm © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Nectar Liquer Superfine' lithograph ( also in 'Documents Décoratifs' 1902 ) © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Poster for 'Sylvanis Essence Perfume' lithograph © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Primrose and Feather © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Primrose © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris 1899 Feather © Alphonse Mucha Estate-Artists Rights Society (ARS), New York-ADAGP, Paris

Volume 1, No. 4 (Autumn, 1934) of the occasional journal Ars Typographica, edited by Frederic W. Goudy. This number contains Goudy's article Type Design: A...

Vols. 11-12, 13-14, 15-16 issued combined

”Millainen työnjako teillä on?” kysyn Riitta Ikoselta Skypessä. Puhumme teossarjasta Eyes as…

Volume 1, No. 4 (Autumn, 1934) of the occasional journal Ars Typographica, edited by Frederic W. Goudy. This number contains Goudy's article Type Design: A...

I'm a Scorpio woman with submissive tendencies. I post things that appeal to me at any given moment, but many things are reblogged. For any more info, send me a message 😊

Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators

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Cette recette simple et efficace joue sur l'alliance pommes de terre et fromage local. Elle est peu onéreuse et appréciée par tous.