One of Fr. Kentenich's great wishes was that the Schoenstatt Movement, founded a hundred years ago in an unknown valley leading down to the Rhine in Germany, should be present in the heart of the universal Church in Rome. In 1965 the leading representatives of the International Schoenstatt Movement promised their founder that they would build an international center in Rome. It took over forty years before this promise could be realized when the International Schoenstatt Center in Belmonte, Rome, was built. Fr. Kentenich's expectations, for the MATRI ECCLESIAE Shrine and Belmonte as a whole, found expression in the programmatic …
One of Fr. Kentenich's great wishes was that the Schoenstatt Movement, founded a hundred years ago in an unknown valley leading down to the Rhine in Germany, should be present in the heart of the universal Church in Rome. In 1965 the leading representatives of the International Schoenstatt Movement promised their founder that they would build an international center in Rome. It took over forty years before this promise could be realized when the International Schoenstatt Center in Belmonte, Rome, was built. Fr. Kentenich's expectations, for the MATRI ECCLESIAE Shrine and Belmonte as a whole, found expression in the programmatic talks of this book. This book contains three of Father Kentenich’s main conferences; two of them have been translated for the first time to English. They offer a good opportunity to learn what the International Center of Belmonte means to Schoenstatt and the Church, and they offer a broad look of the vision Father Kentenich had of the renewed Church.
The Virgin and the Child are amongst the most favourite artistic themes since the Middle Ages. Mary was frequently depicted with the Christ Child.This religious scene showcases a mother and her son, sometimes accompanied by other protagonists. Originally distant and formal, the relationship between the two figures was expressed with tendernessat the end of the Middle Ages and became more human. Amongst the famous artists who have treated the subject of the Virgin and the Child are, most notably, Cimabue, Jean Fouquet, Quentin Metsys, Botticelli, Leonardo da Vinci, Raphael, Rubens, and many others. 300 pictures and more than 500 pages …
The Virgin and the Child are amongst the most favourite artistic themes since the Middle Ages. Mary was frequently depicted with the Christ Child.This religious scene showcases a mother and her son, sometimes accompanied by other protagonists. Originally distant and formal, the relationship between the two figures was expressed with tendernessat the end of the Middle Ages and became more human. Amongst the famous artists who have treated the subject of the Virgin and the Child are, most notably, Cimabue, Jean Fouquet, Quentin Metsys, Botticelli, Leonardo da Vinci, Raphael, Rubens, and many others. 300 pictures and more than 500 pages including detailed captions, offer a thorough insider view on the subject.
In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Created using cold colours and inhabited by anonymous characters, Hopper’s paintings also symbolically reflect the Great Depression. Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure.
In his works, Hopper poetically expressed the solitude of man confronted to the American way of life as it developed in the 1920s. Inspired by the movies and particularly by the various camera angles and attitudes of characters, his paintings expose the alienation of mass culture. Created using cold colours and inhabited by anonymous characters, Hopper’s paintings also symbolically reflect the Great Depression.
Through a series of different reproductions (etchings, watercolours, and oil-on-canvas paintings), as well as thematic and artistic analysis, the author sheds new light on the enigmatic and tortured world of this outstanding figure.
Whistler’s work can be divided into four periods. The first was a research period in which the artist was influenced by the Realism of Gustave Courbet and by Japanese art. Whistler then discovered his own originality in the Nocturnes and the Cremorne Gardens series, thereby coming into conflict with the academics who wanted a work of art to tell a story. When he painted the portrait of his mother, Whistler entitled it Arrangement in Gray and Black, and this is symbolic of his aesthetic theories.
Empires are born. Empires reach their peak. Empires die, but leave their mark through their architecture and artistic achievements. From these specks of dust of memory, 40 centuries of history shape our world of the 21st century. The power of ancient Egypt was followed by the influence of Greece, which brought the Persian East together in the conquests of Alexander the Great. After Cleopatra, the last queen of Egypt, Rome became the power that ruled part of the world, finally dying out in the fall of the Byzantine Empire on 29 May 1453. The authors take the reader on a …
Empires are born. Empires reach their peak. Empires die, but leave their mark through their architecture and artistic achievements. From these specks of dust of memory, 40 centuries of history shape our world of the 21st century. The power of ancient Egypt was followed by the influence of Greece, which brought the Persian East together in the conquests of Alexander the Great. After Cleopatra, the last queen of Egypt, Rome became the power that ruled part of the world, finally dying out in the fall of the Byzantine Empire on 29 May 1453. The authors take the reader on a journey through time and space and highlight the succession of these civilisations that rubbed shoulders, even fought against each other and led us towards a more enlightened humanity.
In the Middle Ages, navigation relied upon a delicate balance between art and science. Whilst respecting the customs and the precautions of their forbearers, sailors had to count on their knowledge of the stars, the winds, the currents, and even of migratory flights. They also used hand-painted maps, which, although certainly summary, were marvellously well-drawn. In following the saga of old sailors, from Eric Le Rouge to Robert Peary, Donald Wigal leads us in discovering the New World. This magnificent overview of maps dating from the 10th to the 18th centuries, often ‘primitive’ and sometimes difficult to understand, retraces the …
In the Middle Ages, navigation relied upon a delicate balance between art and science. Whilst respecting the customs and the precautions of their forbearers, sailors had to count on their knowledge of the stars, the winds, the currents, and even of migratory flights. They also used hand-painted maps, which, although certainly summary, were marvellously well-drawn. In following the saga of old sailors, from Eric Le Rouge to Robert Peary, Donald Wigal leads us in discovering the New World. This magnificent overview of maps dating from the 10th to the 18th centuries, often ‘primitive’ and sometimes difficult to understand, retraces the progress of cartography and shows the incredible courage of men who endeavoured to conquer the seas with tools whose geographical accuracy often left much to be desired.
Aztec Women and Goddesses explores the various stages of the Mexica woman’s life. Miriam López analyzes the mythology, the archaeological discoveries, and the codices and sixteenth-century chronicles with perfect ease as she describes the conduct expected of women and the possibilities for their lives according to Mexica norms and ideals. This insightful work rescues the contributions of Mexica women from oblivion—contributions which, though they may not have been deemed worthy of recognition and prestige in their own day, played …
Aztec Women and Goddesses explores the various stages of the Mexica woman’s life. Miriam López analyzes the mythology, the archaeological discoveries, and the codices and sixteenth-century chronicles with perfect ease as she describes the conduct expected of women and the possibilities for their lives according to Mexica norms and ideals. This insightful work rescues the contributions of Mexica women from oblivion—contributions which, though they may not have been deemed worthy of recognition and prestige in their own day, played an essential part in shaping and consolidating the social structures of the Mexica Empire.
On a sunny January morning in 1833, through one of the Southern Channels of Tierra del Fuego, a British vessel sails alongside a smaller boat. The natives of the area, through screams and smoke, quickly communicate with each other the novelty, and dozens of canoes with hundreds of natives emerge to observe the peculiar event. Curious and friendly for the most part, somewhat aggressive at times, they observe the smallest boat approaching the shore with three Fuegians (two men and one woman) returning to their homeland after almost a year in London. To the surprise of their compatriots, who receive …
On a sunny January morning in 1833, through one of the Southern Channels of Tierra del Fuego, a British vessel sails alongside a smaller boat. The natives of the area, through screams and smoke, quickly communicate with each other the novelty, and dozens of canoes with hundreds of natives emerge to observe the peculiar event. Curious and friendly for the most part, somewhat aggressive at times, they observe the smallest boat approaching the shore with three Fuegians (two men and one woman) returning to their homeland after almost a year in London. To the surprise of their compatriots, who receive them almost naked, these three Fuegians dressed in European clothes, with short hair, speak English and they bring with them porcelain tea sets, bed linens, hats and dresses. This unique scene is only a small part of a larger story that was headed to oblivion at that hostile Southern tip of South America, except for the fact that it was part of extensive passages in the journey diaries of the two British protagonists of the same story: the expedition captain Robert Fitz Roy and the naturalist on board, and eventually one of the most influential scientists in the modern world, Charles Darwin. But in addition to those direct testimonies, a more or less standard version has been installed, restated time after time for almost two centuries; with a series of assumptions and errors that deserve to be reviewed and reassessed. The aim of this book is to reconstruct this story and, above all, review it from a critical perspective.
Sargent was born in Florence, in 1856, the son of cultivated parents. When Sargent entered the school of Carolus-Duran he attained much more than the average pupils. His father was a retired Massachusetts gentleman, having practised medicine in Philadelphia. Sargent’s home life was penetrated with refinement, and outside it were the beautiful influences of Florence, combining the charms of sky and hills with the wonders of art in the galleries and the opportunities of an intellectual and artistic society. Accordingly, when Sargent arrived in Paris, he was not only a skilful draughtsman and painter as a result of his study …
Sargent was born in Florence, in 1856, the son of cultivated parents. When Sargent entered the school of Carolus-Duran he attained much more than the average pupils. His father was a retired Massachusetts gentleman, having practised medicine in Philadelphia. Sargent’s home life was penetrated with refinement, and outside it were the beautiful influences of Florence, combining the charms of sky and hills with the wonders of art in the galleries and the opportunities of an intellectual and artistic society. Accordingly, when Sargent arrived in Paris, he was not only a skilful draughtsman and painter as a result of his study of the Italian masters, but he also had a refined and cultivated taste, which perhaps had an even greater influence upon his career. Later in Spain, it was chiefly upon the lessons learned from Velázquez that he found his own brilliant method.
Sargent belongs to America, but is claimed by others as a citizen of the world, or a cosmopolitan. Sargent, with the exception of a few months at distant intervals, spent his life abroad. The artistic influences which affected him were those of Europe. Yet his Americanism may be detected in his extraordinary facility to absorb impressions, in the individuality he evolved, and in the subtlety and reserve of his methods – qualities that are characteristic of the best American art.
Documents discovered recently in the hidden backrooms of St Petersburg’s Ethnological Museum have proved to be of sensational importance. The contents are published for the very first time in this work. Representing photos and descriptions of art and sculpture, of everyday utensils and everyday activities, all dating from the beginning of the twentieth century, these are the archives of ethnic groups in Siberia who for the most part have fougth tenaciously to maintain their historical traditions. The authors brilliantly convey their enthusiastic admiration for the peoples who have so successfully and for so long contended against both hostile environment and …
Documents discovered recently in the hidden backrooms of St Petersburg’s Ethnological Museum have proved to be of sensational importance. The contents are published for the very first time in this work. Representing photos and descriptions of art and sculpture, of everyday utensils and everyday activities, all dating from the beginning of the twentieth century, these are the archives of ethnic groups in Siberia who for the most part have fougth tenaciously to maintain their historical traditions. The authors brilliantly convey their enthusiastic admiration for the peoples who have so successfully and for so long contended against both hostile environment and political dominance.
September 4, 476 A. D. marked the end of the Western Roman Empire. After several centuries of prosperity, Europe sank into chaos. With Charlemagne, a new dynamic begins that of a civilising reconstruction. The Romanesque period is part of the rediscovery of this Roman Empire, lost in memories, but living on in the architectural testimonies of the cities and the countryside. In art history, Romanesque art refers to the period between the beginning of the 11th and the end of the 12th century. This era was characterised by a great diversity of regional schools, each practising their own unique style. …
September 4, 476 A. D. marked the end of the Western Roman Empire. After several centuries of prosperity, Europe sank into chaos. With Charlemagne, a new dynamic begins that of a civilising reconstruction. The Romanesque period is part of the rediscovery of this Roman Empire, lost in memories, but living on in the architectural testimonies of the cities and the countryside. In art history, Romanesque art refers to the period between the beginning of the 11th and the end of the 12th century. This era was characterised by a great diversity of regional schools, each practising their own unique style. In architecture as well as in sculpture, Romanesque art is marked by raw forms. Through its rich iconography and captivating text, this work endeavours to restore the importance of this art which is often overshadowed by the later Gothic style. Gothic art is defined by the powerful architecture of the cathedrals of northern France. It is a medieval art movement that evolved throughout Europe over 200 years. Abandoning curved Roman forms, the architects started using flying buttresses and pointed arches to open cathedrals to daylight. A period of great economic and social change, the Gothic era incorporated new iconography celebrating the Holy Mary — a drastic contrast to the dismal themes of Roman times. Full of rich changes in all of the various art forms (architecture, sculpture, painting, etc.), Gothic art paved the way for the Italian Renaissance and the International Gothic movement.
In a literary journey from the Sierra Madre to the sea, Júpiter Martínez guides us, between stories and scenes of daily life, through the astonishing-- and at times dangerous--geography of Sonora. This second volume in the series Archaeology in Extreme Conditions is a personal narrative that reveals further secrets of archaeological work. With ingenuity, audacity, and a great sense of humor, the author reminds us that the first step for undertaking archaeological work in an extreme environment is to learn to survive in it.
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