| Carmen | |
|---|---|
| Opera by Georges Bizet | |
Cartoon from Journal amusant, 1911
| |
| Librettist | |
| Language | French |
| Based on | Carmen by Prosper Mérimée |
| Premiere |
3 March 1875
Opéra-Comique, Paris
|
https://en.wikipedia.org/wiki/Carmen
2018年12月31日 星期一
Carmen 卡門/嘉爾曼
https://en.wikipedia.org/wiki/Carmen
The Marriage Feast at Cana
| The Wedding Feast at Cana | |
|---|---|
 | |
| Artist | Paolo Veronese |
| Year | 1563 |
| Medium | Oil on canvas |
| Dimensions | 6.77 m × 9.94 m (267 in × 391 in) |
| Location | Louvre Museum, Paris |
The Marriage Feast at Cana #northernrenaissance
Jacob Wrestling with the Angel
搜索Jacob Wrestling with the Angel，Google給你約6張畫：
Wikipedia 的 visual，給8張，都是名畫
https://en.wikipedia.org/wiki/Jacob_wrestling_with_the_angel
Jacob Wrestling with the Angel
In literature and theatre[edit]
The motif of "wrestling with the angels" occurs in several novels including Hermann Hesse's Demian (1919),
Dodie Smith's I Capture the Castle (1948), Margaret Laurence's The Stone Angel (1964). In poetry the theme appears in Rainer Maria Rilke's "The Man Watching" (c.1920), Herman Melville's poem "Art," and Emily Dickinson's poem "A little East of Jordan" (Fr145B, 1860). In theatre, wrestling with the angel is mentioned in Tony Kushner's play Angels in America (1990); the version depicted on-screen was the 1865 version by Alexander Louis Leloir. Gustave Dore's image is reenacted in Jean-Luc Godard's Passion by a film extra dressed as an angel and Jerzy Radziwiłowicz.[36] Also Maud Hart Lovelace's Betsy's Wedding (1955), Stephen King's novel It (1986), Sheila Heti's novel How Should A Person Be? (2012) and David Fennario's play Balconville (1979). A short story in Daniel Mallory Ortberg's collection The Merry Spinster(2018) explores a version of the narrative as told from the perspective of the angel.
創世紀:Chapter 32
| 9你要答說：是你僕人雅各伯的，是送給我主厄撒烏的禮物。看，他自己就在我們後面。」 |
| 20他也吩咐了第二第三隊，和跟在每隊後面的人說：「你們若遇見厄撒烏，都要照這話回答他。 |
| 21並且還要說：看，你的僕人雅各伯就在我們後面。」因為他心裡想：「如果我先送禮向他討好，然後才與他見面，也許他會歡迎我。」 |
| 22於是禮物先他而行，他自己當夜仍留在營內。 |
| 23他當夜起來，帶了他的兩個妻子，兩個婢女和十一個孩子，由淺處過了雅波克河。 |
| 24等他們過了河，也叫自己所有的過了河， |
| 25雅各伯獨自一人留在後面。有一人前來與他搏鬥一直到曙光破曉。 |
| 26那人見自己不能制勝，就在他的大腿窩上打了一下；雅各伯正在與他搏鬥之際，大腿窩脫了節。 |
| 27那人說：「讓我走罷！天已破曉。」雅各伯說：「你如果不祝福我，我不讓你走。」 |
| 28那人問他說：「你叫什麼名字？」他答說：「雅各伯。」 |
| 29那人說：「你的名字以後不再叫雅各伯，應叫以色列，因為你與神與人搏鬥，佔了優勢。」 |
| 30雅各伯問說：「請你告訴我你的名字。」那人答說：「為什麼你要問我的名字？」遂在那裡祝福了他。 |
| 31雅各伯給那地方起名叫「培尼耳」，意謂「我面對面見了神，我的生命仍得保全」。 |
義大利之外的最大規模Piero della Francesca展：聖彼得堡
Piero della Francesca exhibition at the State Hermitage Museum is largest ever—with 11 works
Half of movable works by Renaissance master included in St Petersburg show
6th December 2018 08:45 GMT
Piero della Francesca's San Ludovico (1460) © Sansepolcro Civic Museum
Giorgio Vasari, writing in his Lives of the Artists of 1550, lamented how Piero della Francesca (around 1415/20-92) had the “truly unhappy” fate of being “robbed of the honour that is due to his labours”. Many of the early Renaissance painter’s “beautiful pictures” were destroyed in the wars of Urbino, the renovation of Ferrara’s ducal palace and the redecoration (by Raphael) of the papal apartments in Rome. Indeed, his esteemed reputation lapsed for several centuries.
Rediscovered in the mid-1800s by British tastemakers and then a succession of Modern artists (Degas and Balthus both made pilgrimages to the frescoes in the Basilica di San Francesco in Arezzo), Piero seems now to have fulfilled Vasari’s belief that “time, who is called the father of truth, sooner or later makes manifest the real state of things”. The few surviving portable works he made have become fixtures at the European and US museums that own them, and rarely travel.
With just 11 pieces, the State Hermitage Museum in St Petersburg is about to stage the biggest exhibition of Piero della Francesca’s work ever undertaken, says the curator, Irina Artemieva. A pair of focused displays at New York’s Frick Collection in 2013 and the Metropolitan Museum of Art in 2014 comprised seven and four works respectively. The 2007 exhibition on Piero and the Italian courts in Arezzo mustered six paintings by the master, although the museum had the advantage of proximity to the immovable frescoes in the town’s own basilica, as well as in Monterchi and Sansepolcro, Piero’s Tuscan birthplace.
Piero della Francesca's Annunciation panel from the Sant’Antonio polyptych (1467-69) © Courtesy of Umbria National Gallery
“In the world, there are about 20 works that could theoretically be moved,” Artemieva says. Such scarcity meant that “all the negotiations were extremely complicated” for loans to the Hermitage, which has no Piero works in its collection. The Uffizi in Florence turned down a request for its famous diptych of the Duke and Duchess of Urbino for conservation reasons. After heated political discussion in Sansepolcro over the Madonna della Misericordia polyptych, “we failed to get it at the last moment”, Artemieva says. However, two fresco fragments will travel from the Museo Civico in Sansepolcro, San Giuliano (around 1455) and San Ludovico (1460).
The loan of the Annunciation panel of the Sant’Antonio polyptych (1467-69) from the Galleria Nazionale dell’Umbria in Perugia was confirmed as recently as early November. The Annunciation will be the exhibition’s centrepiece, Artemieva says, “because it is a nucleus of all [Piero’s] innovations—the architecture in his compositions and his achievements in perspective”.
Arranged chronologically in one of the state rooms of the Winter Palace, the show takes its starting point from a Madonna and Child (around 1435) that was believed lost before it resurfaced in a Chilean private collection in 2007. There will be portraits in profile of Sigismondo Malatesta (around 1450) from the Louvre and a boy, possibly Guidobaldo Montefeltro (around 1483), from the Museo Thyssen-Bornemisza in Madrid. The attribution of the latter work to Piero has been debated in the past; however, Artemieva says the show includes only “his absolutely authentic works, without any suspicion of the participation of his workshop”.
San Nicola da Tolentino by Piero della Francesca © Courtesy of Buzin Media Agenc
Three panels from the Sant’Agostino altarpiece (around 1465), normally scattered between London, Lisbon and Milan, will be reunited. Testament to the Hermitage’s ongoing collaboration with Italian institutions, it has also secured San Girolamo e un devoto (around 1460-64) from the Accademia in Venice, and Urbino’s Madonna di Senigallia (1470-80).
In the absence of Piero’s celebrated but immobile frescoes, the museum will screen a new film about them by Italy’s state broadcaster, RAI. The exhibition will also be a rare outing for four manuscripts written by Piero, held at different Italian archives, which visitors will be able to “follow page by page” on digital screens, Artemieva says.
While Piero has mythical status in Anglo-American and Italian scholarship, the Hermitage hopes the show will raise his profile in Russia. “People know the work of the Italian Renaissance, but Piero della Francesca is still quite an obscure figure for our public,” Artemieva says. “We are trying to give people a multifaceted idea of him as an artist.”
The show is sponsored by the Russian state oil company Rosneft and the Italian bank Intesa Sanpaolo.
• Piero della Francesca, State Hermitage Museum, St Petersburg, 6 December-11 March 2019
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