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Author: U-Wen Low

Cranach, however, Dürer does not seem to have been overly motivated by a desire for religious reform. One biographer argues that Dürer simply wanted to provide a service for his religious friends who were not clergymen, for whom an illustrated Revelation with German text would have been invaluable

In: Religion and the Arts
Author: Ann Beebe

Evergreens, where the paintings were on view in the parlor and library (Guardiano 11). And late in life Emerson emerged as a proponent in the campaign to found a museum of fine arts in Boston. An 1871 speech was reprinted in the Boston Daily Advertiser : “A school of art recommends itself to our common

In: Religion and the Arts
Author: Claire Farago

editions. There were several ways for seventeenth-century printmakers to earn a living. They could sell prints directly to the public, work on commissions for wealthy families, sell their copperplates to print publishers, or dedicate prints to illustrious persons and present the patron with copies in

In: The Fabrication of Leonardo da Vinci’s Trattato della pittura (2 vols.)
Author: Claire Farago

ms C, a treatise on optics begun in 1490, and the nearly contemporaneous Paris ms A, with its extensive notes on the elementary training of painters and workshop practices. By 1489 Leonardo was also undertaking anatomical studies (including the famous skull studies of that year) motivated partly

In: The Fabrication of Leonardo da Vinci’s Trattato della pittura (2 vols.)

life, death, tragedy, grace, unpredictability, the past, the future – and many of life’s other sticking points. Thus, this essay gives a close-up perspective of Dubus as friend and writer both before and after a dramatic turning point in his life. Elizabeth Grubgeld , “Living on the Invisible Palm of

In: Religion and the Arts
Author: David Hammond

, Dubus’s characters are possessed of “basic convictions” that motivate the deeper drama of their lives. The vision that Miranda’s parents have communicated to her, however, constitutes a sense of life as merely the context for self- 164 David M. Hammond fulŽ llment. They have convinced her that the

In: Religion and the Arts

sufferings. Shapeless emotions such as fear, joy, grief, etc., which belonged to this time of effort, will no longer greatly attract the artist. He will endeavour to awake subtler emotions, as yet unnamed. Living himself a complicated and comparatively subtle life, his work will give to those observers

In: Religion and the Arts

the idea of human life as “a project of self-fashioning” was for the first articulated and established the intellectual matrix for the re-imagining of religious philosophy for contemporary European thinkers (13). Bradatan observes that the key to the understanding of the act of philosophizing in

In: Religion and the Arts
Author: Justin Ponder

as she declares the fijilm’s fijinal words: “Life, yes. Life.” So concludes Carl Theodor Dreyer’s 1955 Ordet , a masterpiece renowned for its unique cinematographic style as well as its realistic representation of the miraculous. Before it became a Dreyer fijilm, Ordet or The Word began as a 1932 play

In: Religion and the Arts
Author: Namji Kim

Schloesser, Stephen. Visions of Amen: The Early Life and Music of Olivier Messiaen . Grand Rapids  MI and Cambridge: Wm. B. Eerdmans, 2014. Pp. xxi + 572. $ 50.00 hardcover. Contributing a book that provides new insights on the legendary French composer, Olivier Messiaen (1908–1992) is

In: Religion and the Arts