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Edward Morgan Forster, was an English novelist, short story writer, essayist and librettist. He is best known for his ironic and well-plotted novels examining class difference and hypocrisy in early 20th-century British society. Forster's humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect". E. M. Forster(1 January 1879 – 7 June 1970)
Story vs. PlotBest Defined by Forsterin Aspects of the Novel • a series of lectures on the English language novel, delivered by E. M. Forster at Trinity College, Cambridge, in 1927. In this book, he discusses seven aspects he deems universal to the novel: story, characters, plot, fantasy, prophecy, pattern, and rhythm. • Story: "The king died and then the queen died.” • Plot: "The king died and then the queen died of grief." • Chronology vs. causality • Reshuffle the cards
Rhyming scheme 146 • Van Gogh and Co’rot and Michelange’lo • masculine: a rhyme in which the stress is on the final syllable of the words. (rhyme, sublime) • feminine: a rhyme in which the stress is on the pe’nultimate (second from last) syllable of the words. (picky, tricky) • Dac’tylic: a rhyme in which the stress is on the antepe’nultimate (third from last) syllable (ca’cophonies, Aris’tophanes)
Michelangelo 146di Lodovico Buonarroti Simoni(6 March 1475 – 18 February 1564) • commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet, and engineer. • his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival and fellow Italian, Leonardo da Vinci.
Self portraitMichelangelo • Self portrait as the head of Holo’fernes from the ‘Sistine Chapel ceiling
the beheading of Holo’fernes by Judith • The account of the beheading of Holofernes by Judith is given in the deuteroca’nonical book of Judith, and is the subject of numerous depictions in painting and sculpture.
Holo’fernes • an invading general of "Nebuchadnezzar". "Nebuchadnezzar" dispatched Holofernes to take vengeance on the nations of the west that had withheld their assistance to his reign. The general laid siege to Bethulia, commonly believed to be Meselieh, and the city almost surrendered. It was saved by Judith, a beautiful Hebrew widow who entered Holofernes's camp and seduced him.
Judith was left alone in the tent, with Holofernes stretched out on the bed, for he was overcome with wine (Judith 13,2)...
Sistine Chapel Ceiling • The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, at the commission of Pope Julius II, is one of the most renowned artworks of the High Renaissance. The ceiling is that of the large Papal Chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV after whom it is named the Sistine Chapel. The chapel is the location for Papal Conclaves (secret meetings, or an assembly or gathering, esp. one that has special authority, power, or influence ) and many important services.
a larger scheme of decoration • The ceiling's various painted elements comprise part of a larger scheme of decoration within the Sistine Chapel which includes the large fresco The Last Judgment on the sanctuary wall, also by Michelangelo, wall paintings by a team of the most highly regarded painters of the late 15th century including Botticelli and Perugino, and a set of large tapestries by ‘Raphael, the whole illustrating much of the doctrine of the Catholic Church.
The Last Judgment • The work is massive and spans the entire wall behind the altar of the Sistine Chapel. It was executed from 1537 to 1541. The Last Judgment is a depiction of the second coming of Christ and the a’pocalypse, a prophetic revelation. The souls of humans rise and descend to their fates, as judged by Christ surrounded by his saints.
Creation of Adam • Central to the ceiling decoration are nine scenes from the Book of Genesisof which the Creation of Adam is the best known, having an iconic standing equaled only by Leonardo da Vinci's Mona Lisa, the hands of God and Adam being reproduced in countless imitations.
The iconic image of the hand of God giving life to Adam. Their Fingers not Touching
Creation of Adam • God is depicted as an elderly bearded man wrapped in a swirling cloak while Adam, on the lower left, is completely naked. God's right arm is outstretched to impart the spark of life from his own finger into that of Adam, whose left arm is extended in a pose mirroring God's, a reminder that man is created in the image and likeness of God (Gen 1:26). • Another point is that Adam's finger and God's finger are not touching. It gives the appearance that God, the giver of life, is reaching out to Adam and Adam is receiving. The pink backdrop behind God is in the shape of a human brain.
Di’agonal or vertical lines suggest motion and energy Horizontal lines suggest tranquility About Painting
it balances the Renaissance ideals of classical beauty with naturalism. • This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The statue is one of the most highly finished works by Michelangelo.
Jean-Bap’tiste-Ca’mille Co’rot 146(July 17, 1796– February 22, 1875) • a French landscape painter and printmaker in etching. • http://dictionary.reference.com/browse/Corot+
Roger Fry(14 December 1866 – 9 September 1934) • was an English artist and art critic • Roger Fry (1928 self-portrait)
Formal analysis vs. associated ideas • He (Roger Fry) was the first figure to raise public awareness of modern art in Britain, and emphasized the formal properties of paintings over the "associated ideas" conjured in the viewer by their depicted content.
Two approaches to viewing paintings/pictures • Professional • Disciplined • Compositional approach • Amateur • Associative approach • Self-indulgent in wild imagination as Forster has admitted (with modesty)
What is a Pre’della? • A predella is the platform or step on which an altar stands (predalla It. = kneeling stool). In painting, predella refers to the paintings or sculptures running along the frame at the bottom of an altarpiece. In later medieval and Renaissance altarpieces, where the main panel consisted of a scene with large static figures, it was normal to include a predella below with a number of small-scale narrative paintings depicting incidents from the life of the dedicatee, whether Christ, the Virgin Mary or a saint. Typically there would be three to five small scenes, in a horizontal format.
Example of a Predella 146 • Altarpiece by Carlo Crivelli. The predella has scenes from the Passion of Christ.
St. George Slaying the Dragon 146 • Painting by Gustave Moreau depicting Saint George slaying the dragon. • Gus’tave Mo’reau (6 April 1826 – 18 April 1898) was a French Symbolist painter
St. George Slaying the Dragon • Moscow has probably more sculptures of St. George slaying the dragon than any other city.
Saint George(ca. 275/281 – 23 April 303) • a Roman soldier and priest in the Guard of Dio’cletian (emperor of Rome 284–305), who is venerated as a Christian martyr. In hagi’ography, (the writing and critical study of the lives of the saints; hagiology), Saint George is one of the most venerated saints in the Catholic (Western and Eastern Rites), Anglican, Eastern Orthodox, and the Oriental Orthodox churches. He is immortalized in the tale of Saint George and the Dragon and is one of the Fourteen Holy Helpers.
St. George Slaying the Dragon • Saint George is one of the most popular of Christian saints and is the patron saint of England. He was also a favorite subject of Renaissance artists, who depicted him slaying the dragon. According to legend, this monster infested a marsh outside the walls of a city and, with his fiery breath, could poison all who came near. In order to placate the dragon, the city furnished him with a few sheep every day. But when the supply of sheep was exhausted, the sons and daughters of the citizens became the victims. The lot fell one day on the princess, and the King reluctantly sent her forth to the dragon. Saint George happened to be riding by and, seeing the maiden in tears, commended himself to God and transfixed the dragon with his spear.
Plesio’saurus 146 • (Greek: πλησιος/plesios, near to + σαυρος/sauros, lizard) was a large marine sauropterygian reptile that lived during the early part of the Jurassic Period, and is known by nearly complete skeletons from the Lias of England and Germany.
Hie’ronymus Boschc. 1450 – August 9, 1516 • an Early painter of Netherland (for Lowland). His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives.
The Garden of Earthly Delights is Bosch's most widely known triptycha set of three pictures or panels, usually hinged so that the two wing panels fold over the larger central one: often used as an altarpiece
Three Worlds/an artistic DanteParadise/Earthly Delights/Hell • This painting, depicts paradise with Adam and Eve and many wondrous animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel. When the exterior panels are closed the viewer can see, painted in grisaille, God creating the Earth.
ContrastHie’ronymus Bosch • These paintings—especially the Hell panel—are painted in a comparatively sketchy manner which contrasts with the traditional Flemish style of paintings, where the smooth surface—achieved by the application of multiple transparent glazes—conceals the brushwork. In this painting, and more powerfully in works such as his Temptation of St. Anthony (Lisbon), Bosch draws with his brush.
The Seven Deadly Sins and the Four Last ThingsHie’ronymus Bosch
The Seven Deadly Sins and the Four Last Things • Four small circles, detailing "Death of the sinner", "Judgement", "Hell", and "Glory", surround a larger circle in which the seven deadly sins are depicted: wrath at the bottom, then (proceeding clockwise) envy, greed, gluttony, sloth, extravagance (later, lust), and pride in scenes from everyday life rather than allegorical representations of the sins.[1]
"Beware, Beware, God Sees" • At the center of the large circle, which is said to represent the eye of God, is a "pupil" in which Christ can be seen emerging from his tomb. Below this image is the Latin inscription Cave Cave Deus Videt ("Beware, Beware, God Sees").
The WayfarerHie’ronymus BoschGoing forward; looking backward
Claudia Lyn Cahan and Catherine Riley (1980). Bosch~Bruegel and the Northern Renaissance. Avenal Books. ISBN 0-517-30373-6. • This character in this painting is strikingly similar to The Path of Life, which is the outside of The Haywain Triptych. Interpretations of the character include the suggestion that he is choosing between the path of virtue at the gate on the right or debauchery in the house on the left, or that he is the prodigal son returning home from the world.
Gior’gione’s [jawr-’joh-nee]Castelfranco Madonna 147 • Giorgione (born Giorgio Barbarelli da Castelfranco; • c. 1477/8 – 1510) was an Italian painter of the High Renaissance in Venice. Giorgione is known for the elusive poetic quality of his work.
Gior’gione’s [jawr-’joh-nee]Castelfranco Madonna 147 • executed around 1503, it is housed in La Pala of the Cathedral of Castelfranco Veneto, Giorgione's native city, in Veneto, northern Italy.
the Sacred conversation • In art, the Sacred conversation, sacra conversazione (the Italian original), or "Holy conversation" refers to a depiction of the Virgin and Child (the Virgin Mary with the infant Jesus) amidst a group of saints in a relatively informal grouping, as opposed to the more rigid and hierarchical compositions of earlier periods.
Description of the painting • The picture, a typical sacra conversazione, shows the Madonna enthroned with the Child with St. Francis and, on the left, St. Nicasius. The latter, an armored figure, has also been identified as the fighting saint St. George or St. Liberalis, patron of Castelfranco.
Lightened up • The traditional scheme of composition is lightened by the novel use of such elements as the throne and the landscape, which takes up a good portion of the background. Noteworthy is also the absence of any reference to ecclesiastical elements of architecture.
painting without drawing • The technique of painting is an example of what Vasari called pittura sanza disegno (painting without drawing). • This was a new approach to painting which revolutionized the Venetian school and is famously used in The Tempest. Titian, a pupil of Giorgione, later became one of the most important exponents of this style.
Titian(c. 1488/1490– 27 August 1576 • Recognized by his contemporaries as "The Sun Amidst Small Stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits, landscape backgrounds, and mythological and religious subjects.
Pie’tà Italian for pitya representation of the Virgin Mary mourning over the body of the dead Christ, usually shown held on her lap
Pie’tà Italian for pity • The picture represents, over the background of a larger niche in Mannerist style, the Madonna supporting the body of Christ, with the help of a kneeling Nicodemus. The latter is probably a self-portrait of Titian, represented as if he saw his also upcoming death in the Christ's face. On the left, standing and forming an ideal triangle, is Mary Magdalene.
Mary ‘Magda’lene • Mary of Magdala, whom Jesus healed of possession by devils, • Luke 8:2: • traditionally identified with the repentant woman whom Jesus forgave. Luke 7:37–50.
