Suchergebnisse

"Reims dans ses années de bombardements 1914-18. Bombardment of Rheims. 358. - Rue Brulée transformée en garde-meubles. Brulée Street changed into a lumber room. ; https://digital.kenyon.edu/arthistorystudycollection/1512/thumbnail.jpg

Senior Project submitted to The Division of Arts of Bard College.

"86. - Brest. - Eglise St-Louis - Sortie d Messe." ; https://digital.kenyon.edu/arthistorystudycollection/1551/thumbnail.jpg

"1713. La France reconquise. Souvenons-nous! Le Château historique de Ham (Somme) 100.000 kgs de dynamire furent dépensés par les boches pour sa destruction. Ham's hittorieal old castle- For its destruction, Germans lay on 100.000 kg. dynamite." ; https://digital.kenyon.edu/arthistorystudycollection/1571/thumbnail.jpg

"4115-Paris- Arc de Triomphe de l'Etoile, Tombe du Soldat inconnus- Tomb of an unknown soldier". ; https://digital.kenyon.edu/arthistorystudycollection/1353/thumbnail.jpg

Line of Prussian gaurds and drummers walking in front of the Berliner Dom. ; https://digital.kenyon.edu/arthistorystudycollection/1385/thumbnail.jpg

"Top- Motor Transport Unit. Bottom- Awaiting arrival of troops, Camp Perry, Ohio." ; https://digital.kenyon.edu/arthistorystudycollection/1396/thumbnail.jpg

"281. L'Argonne. - Cimetière américain de Romagne-sous-Montfaucon, vu de côté. - The American Cemetery." ; https://digital.kenyon.edu/arthistorystudycollection/1397/thumbnail.jpg

"Front-Position in the Argonnes." Man standing inside a circular dugout. ; https://digital.kenyon.edu/arthistorystudycollection/1403/thumbnail.jpg

"48. Montfaucon. -- Ruines de l'Eglise prises de l'Observatoire Ruins of the Church taken from the observatory". ; https://digital.kenyon.edu/arthistorystudycollection/1407/thumbnail.jpg

Front: "Lord Kitchener, Great Britian's Minister of War." Back: " No. 71. Lord Kitchner, Great Britain's Minister of War. A new photograph of Lord Kitchener, the Minister of War for Great Britian." ; https://digital.kenyon.edu/arthistorystudycollection/1421/thumbnail.jpg

"Whippet Tank in Action, Troops digging in France." Handwritten note on back: "Do you consider cards of WWI patriotic?" ; https://digital.kenyon.edu/arthistorystudycollection/1463/thumbnail.jpg

"204 - Environs d'Albert - Aspect du Cimetière de la Boisselle aprés son évacuation par les Allemands. The Cemetery after the departure of the Germans." ; https://digital.kenyon.edu/arthistorystudycollection/1514/thumbnail.jpg

My thesis explores the philosophical and ideological divergence among the artists of the Italian Divisionism. Divisionism is a distinctive artistic phenomenon that had a short lifespan of twenty years from 1890 to 1910. Like the French Pointilism, it absorbed the influence of contemporary scientific theories on optical perception in relation to colors. Instead of blending colors in a traditional way, the artists of this style juxtaposed individual, broken strokes in primary colors to achieve the effect of maximum luminosity. Unlike the French neo-impressionists, however, their subject matter featured a strong involvement in social and political issues, idealized depiction of nature, and a mythicized representation of maternity and social and anthropological rites such as funerals. Despite its brief lifespan, Divisionist art left a significant legacy that the more renowned and dramatic Futurists appreciated and inherited. The Divisionists achieved less recognition than the Futurists because, unlike the bombast of the Futurists, they did not coalesce into a unified cultural movement. Divisionist painters shared an aesthetic sensibility but they also expressed different ideologies. They did not necessarily view themselves as a school of art. The plurality and diversity of attitudes however is what makes Italian Divisionism is an extraordinarily distinctive cultural phenomenon in the highly volatile and charged atmosphere of pre-World War I Europe. Therefore, the thesis will examine the deeply spiritual landscapes of Giovanni Segantini, the transcendental symbolism of Gaetano Previati, and the social themes of Angelo Morbelli.

Planteamos aquí la posibilidad de que la figura de la serpiente representada en algunos materiales arqueológicos que conocemos de época augustea en Hispania forme parte interesada de la propaganda imperial y los mitos que el propio Octavio quiso difundir acerca de su origen divino y la Aurea Aetas que su gobierno traía a Roma. Suponemos además que dicha propaganda pudo utilizar interesadamente la figura de este animal, según su figura significase en cultos autóctonos de diversas zonas de la Península Ibérica Hispania o su relación con diversos personajes históricos como Alejandro Magno, Marco Antonio o Pompeyo. ; We refer here to the possibility that the figure of the serpent which appears on some archaeological materials from the time of Augustus in Hispania formed an interesting part of the imperial propaganda and a myth that Octavius himself would have liked to spread in relation to his divine origin and the Aurea Aetas that his government was bringing from Rome. We suppose also that such propaganda may have used the figure of this animal (here a good serpent, genius loci/ agathodaimon/ genius Augusti) in different ways out of interest, depending on how the figure was being used in local cults within different parts of the Iberian Peninsula Hispania or based on its relation with diverse historical figures like Alexander the Great, Marcus Antonius, or Pompeius.