“#Campin rodea a sus personajes de objetos de la vida cotidiana que dan un aspecto profano a sus obras. "Sta Bárbara"”
It wasn't easy to find a specific book on library shelves in the Middle Ages. The spine title had not yet been invented, and the books weren't published in standard sizes. But readers didn't have to spend hours searching, thanks to an ingenious system that made use of concepts similar to modern GPS.
This is why people don't invite you places.
Concha García Sánchez nace en Santander en 1960. Es Doctora en Bellas Artes por la Universidad Complutense de Madrid, ejerce como profesora de la Escuela Superior de Diseño de la misma ciudad. Por su actividad creadora, es miembro integrante del Instituto de Arte
The Demon of Philosophy (BnF, Français 27, 15th c.)
The Secret Chamber of the Kremlin is the oldest Russian museum that house thousands of the rarest and most historic treasures of the Russian Empire. Here are just a few of the items displayed online so we don't have to trek all the way to Moscow to see them:Bible of Ivan the Terrible, a gift to the Cathedral of the AnnunciationThe 16th century Throne of Ivan the Terrible, carved out of ivory and gilded woodHat of MonomakhThe Orient, late 13th-early 14th century.Gold with filigree, pearls and precious sto...
A gorgeous medieval library where the books are kept in chains.
c. 1509. Mixed technique on wood. 40,9 x 32,1 cm. Städel Museum, Frankfurt. 1095. On view: 2nd upper level, Old Masters.
The Annunciation The Annunciation oil on panel 28¾ x 25 in. (73.1 x 63.5
Epistula V. The nymph Oenone, by Hellenistic tradition Paris' first wife, writes to Paris, son of Priam King of Troy, after he abandoned her to go on his famed journey to Sparta, and then returned with the abducted Helen of Sparta as a wife. V. De Zenone a Paris Ovid epistulae heroidum Ovide, Héroïdes ou Epîtres, traduction d'Octavien de Saint-Gelais [1497] BNF MS fr 875 fol-23v Source: gallica.bnf.fr/ark:/12148/btv1b8427253m/f1.planchecontact... en.wikipedia.org/wiki/Heroides elec.enc.sorbonne.fr/miroir/heroides/traduction/para=octo...
El Renacimiento fue el inicio del desarrollo intelectual de la humanidad, el Arte fue su máxima expresión.
Andrea Della Robbia, Annunciation Italian, ca. 1493 Florence, Spedale degli Innocenti, Cloister The next group of images I would like to present for the Annunciation is, at first glance, very similar to the Simplest form, except for one detail. During the course of the eleventh century speculation regarding the mechanism by which the Incarnation physically occurred began to simmer in the Western church. It is keyed off Mary’s question to the angel “How can this be, since I have no relations with a man?” and Gabriel’s reply “The Holy Spirit will come upon you, and the power of the Most High will overshadow you.” (Luke 34-35) But just what does it mean to “come upon” or to “overshadow”? Scholars and then artists began to propose possible means.1 Annunciation From a Psalter English, 13th Century New York, Pierpont Morgan Library MS G 25, fol. 1 It is during this time that new images of the Annunciation appeared. At first glance they look very much like those images that had gone before. They show the two figures of Gabriel and Mary with little indication of surroundings. The principle difference is that they include the Dove of the Holy Spirit in flight toward Mary or even perched near her. Annunciation From the Psalter of St. Louis and Blanche of Castille French (Paris), ca. 1225 Paris, Bibliotheque nationale de France MS Arsenal 1186, fol. 16 Master Henri, Annunciation From Livre d'image de Madame Marie French (Hainaut), 1285-1288 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 16251, fol. 20v Annunciation From a Psalter French (Liege), ca, 1250-1300 The Hague, Koninklijk Bibliothek MS KB 76 G 17, fol. 1v Jacobus Kokkinobaphi, Annunciation From Orationes encomiasticae in SS. Virginem Deiparam Byzantine, First half of the 12th Century Paris, Bibliotheque nationale de France MS Grec 1208, fol. 160v The absence of any sign of a dove in this twelfth Century Byzantine image shows that the questions about the mode of the Incarnation that obsessed the Western Church were unimportant in the East. Pietro Cavallini, Annunciation Italian, 1296-1300 Rome, Santa Maria in Trastevere This Cavallini mosaic and the contemporary image by Torriti show that, even in the highly Byzantinized world of Roman mosaic work, the Western questions applied and the dove appeared. Jacopo Torriti, Annunciation Italian, 1296-1300 Rome, Santa Maria Maggiore Duccio, Annunciation Italian, 1308-1311 London, National Gallery Ambrogio Lorenzetti, Annunciation Italian, 1344 Siena, Pinacoteca Nazionale In the earliest images that include the Dove it can frequently be seen close to Mary’s head, or more specifically to her ear, for it was thought that one of the means by which the Incarnation occurred was through her ear. The idea comes from the idea that Jesus as the Word of God would be able to penetrate through the ear, the organ of hearing. This fairly primitive, highly material idea was ultimately abandoned and the Dove of the Spirit began to hover more generally, as a more reasonable interpretation of the idea raised by the word "overshadow" from Gabriel's reply to Mary's very reasonable question. Richard de Montbaston, Annunciation From Legenda Aurea by Jacobus de Voragine French (Paris), 1348 Paris, Bibliotheque nationale de France MS Francais 241, fol. 31v Lorenzo Ghiberti, Annunciation Italian, 1403-1424 Florence, Cathedral Baptistry Hugo van der Goes, Annunciation Exterior wings of the Portinari Altarpiece Flemish, 1476-1479 Florence, Uffizi Gallery Veit Stoss, Annunciation German, 1517-1518 Nuremberg, St. Lorenzkirche As time passed the dove, which had initially been just a dove, begins to be surrounded by bright light, may even be replaced by light alone. It is from these images that the next significant developments in Annunciation iconography spring. Andrea del Sarto, Annunciation Italian, ca. 1528 Florence, Galleria Palatina, Pitti Palace Titian, Annunciation Italian, 1562-1564 Venice, Church of San Salvador El Greco, Annunciation Greco-Spanish, 1596-1600 Madrid, Museo Nacional del Prado Peter Paul Rubens, Annunciation Flemish, 1609-1610 Vienna, Kunsthistorisches Museum Hendrick Terbruggen, Annunciation Dutch, 1624-1625 Private Collection Nicholas Poussin, Annunciation French, 1657 London, National Gallery Bartolome Murillo, Annunciation Spanish, 1660-1665 Madrid, Museo Nacional del Prado Giovanni Battista Tiepolo, Annunciation Italian, 1724-1725 St. Petersburg, State Hermitage Museum Giambattista Pittoni, Annunciation Italian, 1758 Venice, Galleria dell'Accademia Franz Ignaz Gunther, Annunciation German, 1759-1763 Private Collection Continue reading about the Annunciation in the following posts: Annunciation, Part I, Simplicity The Annunciation, Part III – In the Garden Annunciation, Part IV: "As If She Were A Dove That Dwelt There" Annunciation, Part V: Telling The Whole Story Annunciation, Part VI: The Annunciation Witnessed The Annunciation, Part VII, In the House Annunciation, Part VIII, In the Bedroom © M. Duffy, 2014 ________________________________________________________________ 1. 1. For a detailed description of the history of this question and the ways in which it was answered up to the fifteenth century see the twined articles: · Steinberg, Leo. “How Shall This Be?” Reflections on Filippo Lippi’s “Annunciation” in London, Part I in Artibus et Historiae, Vol. 8, No. 16, 1987, pp. 25-44 and · Edgerton, Samuel Y. , Jr. “How Shall This Be?” Reflections on Fiippo Lippi’s “Annunciation” in London, Part II in Artibus et Historiae, Vol. 8, No. 16, 1987, pp. 45-53.
