The experience Parks speaks of is ultimately different for every person who attempts to recreate or translate a work of literature. This explains why there are sometimes several different versions of the same story. Charles Martin and Gianlorenzo Bernini have their own original experience and interpretation of Ovid’s “Apollo and Daphne” in The Metamorphoses. Their translations contain several similarities and differences which can make
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Germany. Northern Renaissance. 21-1 Albrecht Dürer. Self-Portrait. 1500. Germany. Northern Renaissance. 21-A. Pieter Bruegel the Elder. The Return of the Hunters. 1565. Flanders. Northern Renaissance. 22-4. Gianlorenzo Bernini. David. 1623. Baroque. Italy. 22-1. Gianlorenzo Bernini. St. Teresa of Ávila in Ecstasy. 1645–1652. Baroque. Italy. 22-B. Caravaggio. The Calling of St. Matthew. 1599–1600. Baroque. Italy. 22-14. Artemisia Gentileschi. Self-Portrait as the Allegory of Painting. 1630. Baroque
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Baroque is associated with strange‚ bizarre‚ and spectacle. The biggest contributions to Baroque art were made by its greatest sculptor‚ Gianlorenzo Bernini (1598-1680). Born the son of an Italian sculptor‚ Pietro‚ he worked with his father and produced a bust at the age of ten. He was a child prodigy much like Dali and Michelangelo. Bernini enjoyed immense popularity and networked with the powerful elite of Europe‚ contributing important works of architecture and sculpture‚ especially for the
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OLD SAINT PETER’S BASILICA‚ ROME‚ C. 330 FORM In terms of form and meaning‚ we can say that the path is much more dramatically concretized than S. Sabina. By not using bulky Roman construction methods‚ the striving for dematerialization and spiritualization becomes evident‚ which is continued in S. Sabina. It emphasized the new orientation towards a spiritual rather than physical world. By emphasizing the richly decorated and glowing aspects of the interior space and neglecting the exterior‚ Old
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David. The statue forces the observer to look past the actual subject and focus more on the surroundings. He seems to have very muscular legs‚ and appears to be ready to turn and throw a stone from his sling. This is the most dramatic pose that Bernini could have picked and was chosen because it shows a sudden burst of energy and a moment of suspense as well. Bernini’s David is different from that of other artists because there is an expression of concentration that makes the statue a more imposing
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characterized by dramatic movement and heavenly inspiration. David was depicted bent over in mid-action preparing to sling a stone giving the sense of climax. The implied diagonal lines of this marble sculpture further induce the feeling of movement; Bernini juxtaposes the concrete media of stone with the visual of an arching‚ flexing figure. The realism portrayed persuades the viewer that this is an average sized man that shouldn’t weigh more than one either‚ but we know different—mass is an illusion
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In the renaissance the biblical character‚ David‚ was very popular especially between the three sculptors such as Michelangelo‚ Bernini‚ and Donatello. The three statues that are presented are statues of David before‚ during‚ and after the battle with the giant Goliath. The story of David is presented in the book of Samuel in the bible. In the book of Samuel it states that the Philistine army had gathered for war against Israel. Goliath was a Philistine giant measuring over nine feet tall. Goliath
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Image pair 1: Four statues of Pharaoh Ramesses II (with smaller royal family figures)‚ 20m high‚ Exterior: Abu Simbel temple‚ Egypt‚ 1279-1213 BCE Gian Lorenzo Bernini‚ David‚ marble‚ 1.7m high‚ Galleria Borghese‚ Rome 1623-4‚ At the exterior to the Abu Simbel Temple‚ in the small village of Nubia in Southern Egypt‚ there lies the ‘Four statues of Pharaoh Ramesses II’. These 20 metre tall‚ statues were carved into the bare stone at around 1279- 1213 BCE‚ and were an exaggeration of Ramesses II’s
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The ruling Papacy in Rome during the 17th century was predominately concerned with spiritual its rule and an assertion of its authority‚ the approach of which had recently undergone a change in response to Protestantism and the Counter Reformation. The work on art and architecture at St Peters reflected the change in approaches towards religious representation‚ as it became more extravagant and acted as a physical embodiment of the church. The Papacy had often used visual representation as a form
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Welcome to Italy Culture and culture of the Italian Peninsula… . A Project by: Miodrag Jankovic Intercultural Communication EPHEC A Project by: Miodrag Jankovic Intercultural Communication EPHEC Summary Italian ID Card 3 The History 4 Geography 5 Environment - current issues 6 Environment - international agreements 6 Natural hazards 6 Italian Society & Culture 7 The Italian Language 7 Italian Family Values 7
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