22,330 research outputs found
Peter Paul Rubens' Daniel in the Lions' Den: Its Sources and Its Political Significance
No full textThis dissertation evaluates Rubens' Daniel in the Lions' Den (ca. 1614-1618) through an examination of the visual and emblematic sources that likely inspired the artist, as well as the political meaning that it held to Rubens and to its early owners. In my analysis, I reevaluate the all'antica and antique sources that Rubens likely studied to explain how the artist imbued his lions with impressive qualities that exceed naturalism. Through the lens of Josephus' Antiquity of the Jews and Marco Polo's description of the Dry Tree--the legendary site where Alexander the Great defeated Darius III--I reexamine the spiritual and humanist implications of Rubens' adaptation of the antique bust The Dying Alexander for his depiction of Daniel. I also argue that Rubens' visual vocabulary included political imagery related to the Leo Belgicus, the personification of the Netherlands during the Eighty Years' War, and that Rubens' painting reflects the political agenda of the Spanish Habsburgs to maintain control over the Netherlands.
It is unclear whether Rubens created Daniel in the Lions' Den first as a studio showpiece or for an unknown patron. Nevertheless, the painting's later life in the collections of Dudley Carleton, English Ambassador to The Hague, Charles I, King of England, and James Hamilton-Douglas, 1st Duke of Hamilton, a courtier to Charles I, reveals that these later owners appropriated Rubens' leonine imagery for their own political ends. Carleton likely gave it to Charles I in 1628 to secure career preferment in the Stuart court. Charles I hung Daniel in the Lions' Den in the Bear Gallery at Whitehall Palace, from 1628 to 1641, to enhance His Majesty's regal authority. In my appraisal of Daniel in the Lions' Den's function in this gallery, I reconstruct the installation of the paintings according to Abraham van der Doort's ca. 1639 inventory, and show how this painting functioned as a pendant to Rubens' Peace and War at the time of Rubens' diplomatic visit to London from May 1629 to March 1630. Finally, I explore the heraldic function of Daniel in the Lions' Den in Hamilton's collection during the Bishops' War
Rubens and England. A commentary by Gregory Martin - ACE048.2
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
Rubens and England. A commentary by Gregory Martin
No full textGregory Martin in the Banqueting Hall, Whitehall, London. Self Portrait by Peter Paul Rubens (1623). Details of ceiling paintings while Martin wonders why he is alone there, and why these paintings aren’t better appreciated. Portrait from ceiling of King James I; Martin points out that he wanted the Monarchy to take precedence over the House of Commons, and was thus against democracy. Engraving showing the Commons around 1628; the Petition of Right. More details from paintings. Martin believes that the decoration in the Banqueting House challenges the British ideal, and "has come to represent a dead idea". Charles I, King of England, from Three Angles (The Triple Portrait) by Anthony van Dyck (c.1636). Engraving of London Bridge. Rubens’s portrait of Thomas Howard, 2nd Earl of Arundel and Surrey (1629). Arundel admired Rubens and inspired others to commission work from him. Portrait of Charles I of England (1631) by Daniel Mytens (1631). A painting which Rubens gave to Charles, Minerva Protects Pax from Mars (Peace and War) (1629-1630); Martin talks about details of the painting in which Rubens used "a vocabulary of allegory and symbol … common to everybody that was educated in the classical tradition", explaining that Minerva personified wisdom, Hercules could personify strength, etc. He suggests that Rubens wanted to say to Charles that, as a wise man, he would favour peace over war, but did it in a way which had "drama … impact and relevance". Part of Rubens’s Landscape with St George and the Dragon (1629-1635) with Charles I as the Saint and Queen Henrietta Maria as the princess. Martin points out that the picture also shows the Thames and Lambeth Palace. Rubens’s oil sketch of George Villiers, Duke of Buckingham (1625). Painting, Minerva and Mercury conduct the Duke of Buckingham to the Temple of Virtue (c.1625). Martin explains the allegory and compares it to The Apotheosis of James I, the centrepiece of the Banqueting Hall ceiling. General view of the Banqueting Hall. The Peaceful Reign of James I (aka The Benefits of the Reign of James I), with Minerva repulsing Mars while James embraces Concord and Peace. The Union of the Crowns, in which James directs Minerva to present the crowns of England and Scotland to Charles I, while Hercules overcomes Evil. Martin compares the Hercules figure to that of Cain Killing Abel (c.1540) by Titian, shown as engraving. Rubens’s coat of arms. Details of canvases showing joins where sections were sewn together. Self portrait c.1638-1640. Details of paintings. Martin points out that there were very few working drawings but many oil sketches, probably used by studio assistants to help them in blocking in the large canvases while Rubens went over them later. The paintings were delivered and installed in 1635. Rubens’s painting, An Autumn Landscape with a View of Het Steen in the Early Morning (c.1636), of his country house at Elewijt, where he spent most of his last year before his death in 1640. Self Portrait. Edward Bower’s portrait of Charles I at His Trial (1648). Engraving of crowds. Engraving of Oliver Cromwell with head of executed king; Cromwell’s signature on execution order. Engraving of scenes at execution. Banqueting Hall where the paintings "express the highest aspirations of the early Stuarts and are also the silent witnesses to the collapse of those aspirations". Credits
Report on Meteorological Research March 1, 1935 (m-1)
No full textThe object of the report was to elucidate in detail the various features of the research program in meteorology being carried on at the Daniel Guggenheim Airship Institute in Akron, Ohio. Mr. L. J. Fangman, of the U.S. Weather Bureau, was collaborating with the author in carrying out work such as a study of autographic records of the various meteorological elements during frontal passages with a view to the possible prediction of the intensity of the accompanying disturbance as it may affect the operation of aircraft and a study of atmospheric gustiness with a view to finding the dependence between frequency end amplitude of velocity fluctuations and the vertical temperature and velocity gradients
(Fourth) Report on Meteorological Activities at the DGAI (8-1-36)(Weather Bureau Copy)
No full textThis report is on the investigations of frontal phenomena at the Daniel Guggenheim Airship Institute in Akron, Ohio from January 1, 1935 through August 1, 1936. The investigation was carried out with the cooperation of the U.S. Bureau of Aeronautics, the U.S. Weather Bureau, the California Institute of Technology, and the Guggenheim Airship Institute. Mr. R.C. Robinson of the Weather Bureau cooperated with the author in carrying out the investigation. The object of the investigation was to determine the intensity of the atmospheric disturbances (i.e. rapidity of wind shift and gustiness) accompanying the passage of cold fronts, along with a study of the characteristics of the air masses involved and other features which might affect the intensity of the disturbance. The report treated thirty cold fronts which passed the station during 1935 to 1936
Archives and Images as Repositories of Time, Language, and Forms from the Past: A Conversation with Daniel Eisenberg
No full textDaniel Akech
No full textabstract: Daniel was a little boy when the war came to his village. He witnessed people being shot and running for shelter. There was no food or water so he drank urine and ate tree leaves.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 24Region: Upper NileThis picture and bio was donated to the "Lost Boys Found" oral history project from The Arizona Lost Boys Cente
Daniel Emmett postcard
No full textPostcard of Daniel Emmett and his home in Mount Vernon, Ohio. Emmett is considered to be the author of the antebellum song "Dixie," written in 1859, which became the unofficial song of the Confederate soldiers during the American Civil War. He was born in Mount Vernon in 1815 and taught himself the fiddle, and later became associated with minstrel shows and helped to define that genre. Minstrel shows traveled around the United States, presenting skits and musical performances. Emmett also composed many other songs, including "Old Dan Tucker," "Turkey in the Straw," and "The Blue Tail Fly." He died in 1904
Daniel Jau Maper
No full textabstract: Daniel Jau Maper was herding cattle when Arabs attacked his village.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 27Region: Upper NileThis picture and bio was donated to the "Lost Boys Found" oral history project from The Arizona Lost Boys Cente
Daniel A. Ngor
No full textWhen Daniel was five years old Arab soldiers attacked his village.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age : 23Region: Upper NileThis picture and bio was donated to the "Lost Boys Found" oral history project from The Arizona Lost Boys Cente
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