Studi su Erodoto e Tucidide, , p. Sammartano, Origines gentium Siciliae. Ellanico, Antioco, Tucidide, , p. Vanotti, « Roma polis hellenis, Roma polis tyrrhenis. Blegen, Troy and the Trojans, , notamment p.
Tourraix, Le mirage grec. Poucet, Les origines de Rome. Tradition et histoire, , p. Roselaar, , p. Baron, Timaeus of Tauromenium and Hellenistic Historiography, , p. Linderski, « Vergil and Dionysius », Vergilius, 38, , p. Un peu plus loin I. FGrHist 4 F 23 ; Lycophr.
Boxus et J. Antiquam exquirite matrem. Casali « Iasius pater : Iasius e i Penati in Aen. Scritti in memoria di R. Braidotti, E. Dettori, E. Lanzillotta, , p. A Commentary, Scafoglio, « Ducente deo. Una nota ad Aen. II, », Latomus, 64, , p. Franco, « Circe e le belve spettacolari. Sordi, « Virgilio e la storia romana del IV secolo a. Martindale, , p. Urso, , p. Grimal, « Fides et le secret », RHR, , , p. Wagenvoort, Pietas. Selected Studies on Roman Religion, , p.
Garrison, Pietas from Vergil to Dryden, , p. Fernandelli, « Sum pius Aeneas. Meylan, Virgile et la mission politique de Rome, , p. It is clearly a break with Christian conceptions very inspired by a culture completely foreign to Europe: the Semitic Jewish culture, very hostile to the nude and eroticism, which had triumphed over the Greco-Roman culture of inspiration towards ac.
Change is important, but in painting only, because in everyday life, European humanity has not deprived itself of anything at all, and certainly not lust, during these thousand years, at all levels of society.
The renaissance is therefore also a real fact, at least in painting and sculpture, because it is not only a renaissance of antiquity, it is also a renaissance of the female nude and the male nude. Catholic and humanist Europe will last three centuries, and the image of the woman that his painting will spread takes on a tremendous scale, carnal, with Pierre Paul Rubens whose art represents the summit of the collaboration between Catholicism and the Humanism.
There is not with Rubens the distant reserve of Leonardo da Vinci or Raphael. The wife of Rubens is absolutely queen, glorious, fulfilled, including in his flesh. Except Mary, of course, but not puritanical.
The virgins of Rubens are reserved as they should, But they are women, women to whom peoples can identify themselves.
This art to the glory of the woman is highly political, it has been painted to counter the sad flesh of Protestant art and regain ground, especially throughout Eastern Europe and southern Germany. A battle won otherwise than by arms.
Through the art. This is the whole explanation of the golds, stuccoes, frescoes and of the superlative paintings of Baroque: The Baroque is a Counter-Reformation, the affirmation of a Humanist Catholicism that was expressed artistically and used the woman in his fight against Protestantism.
The Church of that time did not lack a certain audacity, and did not cultivate sad repentance. Art, painting, women have gained a lot in this policy.
In the catholic-humanist Europe, reconquered on the Reformation, during two more centuries, the woman will be constantly present in one form or another, always beautiful, always representative of her sex, always a little, or much naked, sometimes sacred sometimes profane, sometimes Catholic, sometimes Greek or Roman. This art of the "carpe diem" will spread in almost all the aristocratic Europe of the time.
This theme of women is relatively new because it moves away from the Catholic religion, it is obvious. But it is also moving away from the humanist vision. It is a painting in which the feminine nude is cultivated for itself, without passing through the pretext of ancient or biblical references. This lightweight art is also the antithesis of the image of the Protestant woman of the Netherlands, which we will see in the next chapter.
It is necessary to say a word of the technique, even if the technique is not specific to the representation of the woman but obviously concerns all the themes of the paint. The technique is essential, because it will make the woman more pulpy, more vaporous, but more realistic, less symbolic, than in times of strictly Catholic Europe.
The linear woman of the First Gothic, like that of the International Gothic, looks a little like the models of contemporary fashion shows. Infinitely better than skeletons, but she may lack some tasty curves.
Gothic spirituality is a little detrimental to the materiality of the image of women. The Gothic woman has angles. The woman of the humanist Renaissance, becomes more tangible, takes forms much more enveloping, more tactile, more realistic, more seductive. However, the Renaissance is not, as far as the pictorial technique is concerned, a revolution.
It is more a point of arrival than a point of departure. The rebirth is certainly the starting point, towards more than three centuries, of a painting perfectly imitating Nature. A paint perfectly imitating the woman. But the Renaissance is also the culmination of a long path undertaken since the middle of the Gothic to paint in three dimensions, and not only in two dimensions as in the Byzantine times, in the Romanesque period and early Gothic.
From the 13th century to the 16th century European painting technically went from "flat painting" in two dimensions to "full painting" in three dimensions. From an approximate, sketched and symbolic representation of the world to an exact, faithful representation of nature. Exact representation that does not exclude the symbolic interpretation.
But a woman in three dimensions, from a certain point of view, is better than a woman in two dimensions. Italy have finalizing around two decisive techniques for the representation of space in three dimensions on a flat surface:. Space then gently envelops beings and things, in a more credible way, than in the first Gothic painting, and even that of a certain terminal Gothic, called "International Gothic", with linear tendencies and acute contours.
But the Cologne school with Stephan Lochner and especially the Flemish school with Jan Van Eyck, had shown since the s that painters from the North of Europe had invented a perspective that, although imperfectly mathematically, was everything actually aesthetically credible. They had also been able to represent perfectly in their environment, in an insensitive, melted way, the Virgins and Children who were the theme of their painting.
These Flemish "Primitives" knew perfectly well how to create a progressive, gentle atmosphere, in line with our vision of the world. So the Renaissance is not only Italian, the so-called "Primitives" Flemings have participated a lot, even if it is within the framework of an exclusively Catholic thematique, which is not considered, by the historiography dependent on "Enlightenment", like progressist.
The Mona Lisa is certainly a brilliant perfection of the Sfumato, and of the "maniera moderna", the art of melting the beings and the things in the atmosphere, but, at the same era, Giorgione, often finished by Titian because of the premature death of Giorgione, realizes very similar works, in regards to technique.
The Mona Lisa is more significant, exemplary even, as an archetype of the new spirit, of the new symbolism of the woman, and even of the symbolism of the human in general. The Mona Lisa is in the painting a model completed, exemplary, of the humanist spirit.
The Mona Lisa is not Mary, this is important at the ideological level, for some it is even a decisive progress, but it is not Venus either. She is a new archetype, and especially universal. The Mona Lisa is the expression of the timeless, universal humanism of Leonardo da Vinci. All of Leonardo da Vinci's work is absolutely exemplary in its themes of the intelligent balance between Catholicism and Humanism, which was established during the Renaissance.
This is his greatness which is not only technical. Technically the work of Vinci is a magnificent achievement, which like other works of the same period, will serve this model, for about years, to European painting. But conceptually, metaphysically, the Mona Lisa is still, in our time, even for other civilizations, a living reference, shared at the elite level and instinctively at the popular level.
Try to photograph it in the Louvre, if you are not a professional! The crowd of the public is proof that the Mona Lisa is the illustration of a true universalism, cultivated and rooted in the wisdom of particular and different peoples.
The Mona Lisa is intelligently and spiritually universal, she is at the antipodes of a globalism, universally accultured, whose manufactured speech, and the "conceptualist" pretentions masks the poverty of spirit of its projects for the world. She is the opposite of the so-called culture of a globalism of uprooted and robotic mens. Consequence for the woman of this technical evolution of the European painting, multisecular evolution that culminates to the rebirth?
With the return to the Antique and the end of the ban thrown on the nude, the woman wraps herself even better in her nakedness. She is softer, but apparently only. Judith savagely slays the poor Holofernes, as Artemisia Gentileschi and Caravaggio show.
Caravaggio's painting belongs for many of his works to Catholic iconography. The Church is always a key sponsor if an artist wants to succeed. But the art of Caravaggio is also often inspired by a more aggressive, subtly anti-Catholic humanism. Angelo Merisi was not an Angel, or rather a fallen angel, as in his "Victorious Love". Similarly, in a completely different style, Paolo Veronese, whose religious paintings are often a shining display of consumerist and futile materialism.
Unlike Tintoretto. The Church was not mistaken, who frowned at some of Veronese's paintings. Yet the Church at Venice, well kept in hand by a very merchant-minded aristocracy of mind, was broad-minded. So there are tensions between the two ideologies, tensions that will grow over the centuries.
The art of the Baroque-Rococo, of the 18th century French, which then spread throughout Europe is a very obvious expression of the appearance of new trends. Because a more systematic, more simplistic, more materialistic ideology than Humanism is settling, surreptitious at first, then more and more effectively to reign undivided on the West. Humanism is the expression of a thought which, in order not to be of a religious spirit according to the definition of religion which imposes itself with the Christian monotheism, was, however, of spiritualistic and highly philosophical tendencies.
Hence the agreement preserved with Catholicism. At the 18th century arises a materialistic thought, intellectually limited, whose French Rococo art is a first testimony.
And the image of the woman changes accordingly. The public may prefer Mary to Judith, if he wants to forge himself an exemplary image of the woman. But he may prefer also Aphrodite-Venus or Mary Magdalene, not too repentant yet. In the Renaissance and long after it, the aristocrat and the big bourgeois now have the choice between several images of the woman.
And most often they cultivate the two, or three, or four images of the woman simultaneously or successively. Sometimes a Virgin Mary adoring the Child, sometimes a triumphant Venus, sometimes an ambiguous Diana, sometimes a repentant Mary Magdalene, sometimes a San Sebastian, androgynous equally ambiguous.
This globally bipolar balance situation of the image of women in the art of painting will continue, throughout Catholic and Humanist Europe, until the French Revolution. Always in an simplified dating, but memorable and synthetically exact. But there is a "reserve", an exception, which is the Protestant Netherlands in the 17th century. Until the middle of the 19th century the European woman will paint herself, outside the Netherlands, according to the double dialectical criterion of Catholicism and Humanism, and in the style of "the full painting" to which painters from all over Europe had succeeded around In the northern Netherlands, Protestants, Reformed Calvinists will change the image of the woman.
They will not change the image of the woman technically, because the technique of "full painting", perfectly imitating the surrounding world, is acquired for more than three centuries, until about But the Protestant painters -calvinists of the Netherlands will change the image of the woman thematically. As much as the rebirth had done, but in other directions. Toute la famille est dans un courant pictural qui se partage entre le classicisme et le baroque.
Noel Coypel is the source of the dynasty of painters of this family which includes three other painters:. The whole family is in a pictorial current that is divided between classicism and baroque.
The themes are those of "Great Art": the Catholic religion, history and Greek and Roman mythology, or the great literature past or contemporary. View On Black. The inscription makes it possible to identify the battle: "Then follows the terrible and lamentable massacre that after the death of Hector Achille inflicted on the unfortunate Phrygians". This is Hector's death during an ambush by Achilles.
This version of events is not that of Homer but Dictys of Crete, probably because this story allows the author to paint an equestrian battle. The city, perched on a rock, evokes the ancient world. In the frames, the heads express terror, the winged mask yells with fear, the putti hold their heads and shout, the two scrawny women personify misery and ruin, the heads of black oxen symbolize death.
Only the two figures of women leaning on long sticks bring a note of hope: it is images of Constance that announce the future intervention of Aeneas.
Hercules is a figure from Roman mythology, an italic form of the cult of the Greek hero Heracles, probably presented to the Samnite peoples by the Greek colonists, in particular from the colony of Cuma, and to the Latins and Sabines of the Etruscan cult at Hercle. By definition, he defined himself as a person of great physical strength and, in the past, the strong man who played in circuses and fairs. The cult of Hercules in Rome follows the Greek myth of Heracles, with some additions and specificities.
Hercules was worshiped on August 12 and had the epithets of Invitto, Vincitore, Custos. The cult was often associated with springs and ponds. After the banquet that followed the ceremony, the king tells Enea the origins of this rite. Hercules, returning from Spain with the herd of oxen captured by Gerione, makes a stop in Lazio, then infested by the monstrous Caco, who steals the herd of Hercules and hides it in his cave; the angry hero discovers and kills him.
The locals, grateful to have been freed from the plague, dedicate a ritual to it, still testified in Virgil's time by the maximum altar of Hercules Invitto, located at the Boarium Forum, from where the triumphal processions started.
For the Roman tradition, the office of this cult, the only non-Roman derivation accepted by Romulus, was assigned to the members of Gens Potitia, one of the oldest patrician families in Rome, until Appio Claudio Cieco gave up, and for that he would have been punished for the blindness and the extinction of the family.
Since Hercules was the first mortal who succeeded in becoming a god, representations of the "twelve labors" are frequent in Roman sarcophagi, as a symbol of the trials which the deceased must face to achieve immortality. Unlike the Netherlands, where the landscape is painted for itself, European painters continued throughout the 17th and 18th centuries to paint landscapes that were most often linked to an episode of the Catholic religion, mythology or Greco-Roman history.
In this way, art clearly expresses the cultural differences between Europe, which was formerly dominated by the Romans, and Europe which remained outside the borders of the Empire. Fil de vint - Miquel Gil.. Ya b3eedn 3an 3yoonii drait aw ma drait.. Wla Tshoof il3ain bzainn blyaak Ya b3eedn 3an 3yooniii drait aw ma drait.. Moot a7bik moot ana mooot Feek.. A7baaak inta moot wala a7bak moot mooot.. Exploring the details of the environment and the men around him.
For me, as a middle range photographer, it was strange to focus so closely, but an interesting journey. The textures, the angles, the contours of the body seem so different when focussed so closely.
What I hoped to achieve was the softness and sensuality of his work. I may or may not have achieved that. But I hope this upload encourages at least one person to check out his work — and perhaps add him as a contact too. Explore Trending Events More More. At the dawn of a new year, we can only hope that the next one will be better, especially in the current context So I wish you all, Friends Flickriens, a very happy new year May see your dearest wishes come true and bring you happiness and joy, as well as unfailing health May life, in its great injustice, not bruise you too much We hope this book will help foster a love of international children's songs!
Please contribute a traditional song or rhyme from your country. Lions, tigers and bears! Oh, my! In this collection, you'll find poems about those animals as well as clams, microbes, and even a pirate's parrot! This is our biggest book yet, featuring over animal rhymes, poems, fables, tongue twisters, and even some songs. All of the songs, rhymes, and poems in this book include links to web pages where you can listen to recordings!
Order Here! Original Version Unavailable. English If anyone can provide a copy of the original song, please email me. Mama Lisa's Books Our books feature songs in the original languages, with translations into English. Kid Songs Around The World.
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