Bøger om 15. århundrede

A Princess FoundIn 1496, a beautiful princess was preparing to marry in Milan. Bianca was the daughter of Duke Ludovico Sforza and betrothed to Galeazzo Sanseverino, commander of the duke's armies. Portraits were often commissioned during the Renaissance to mark major events in a subject's life, and a court artist named Leonardo da Vinci was given the task of memorializing Bianca.Tragically, the princess died soon after her wedding. Then her portrait, the last evidence of her existence, was also lost.At a New York City gallery in 2007, Peter Silverman saw a portrait catalogued as "German, early 19th century." Thinking it misattributed and regretting not buying it once before, he scooped it up for a mere $19,000 and began a long quest to discover its origins. He hardly dared utter the "L" word: Leonardo.Giants in the field of art history and scholarship soon would, though, as the best of connoisseurship was used to authenticate La Bella Principessa. Science would then confirm their judgments. The picture was carbon-dated, digitally examined with multispectral imaging, even scrutinized for fingerprints--and one of Leonardo's was found along with a palm print. Bianca was identified as the subject, and her clothes and hair were matched to those of her period.Many in the art community still would not believe, but Silverman persisted and, with the help of Leonardo scholar Martin Kemp, discovered its provenance: the tribute book from which the picture had been removed. After more than 500 years the beautiful princess was home again.The picture is valued at $150 million, but its value to the art world is incalculable--and its story is unforgettable.

Catherine de Valois, daughter of the French king Charles VI, is born into troubled times. Though she is brought up in a royal court, it is a stormy and unstable environment. Before she is out of her teens, Catherine is married off to England's Henry V as part of a treaty honoring his victory over France. She is terrified at the idea of being married to a man who is a foreigner, an enemy, and a rough soldier, and is forced to leave her home for England.Within two years she is widowed, and mother to the future King of England and France?even though her brother has laid claim to the French crown for himself. Caught between warring factions of her own family and under threat by the powerful lords of the English court, she must find a way to keep her infant son safe. In Owain Tudor, a childhood friend for whom Catherine has long had affection and who now controls the Royal household, Catherine finds both strength and kinship. As their friendship turns to love, however, she risks not only her life and that of her son but the uneasy balance of power in England and France that will be forever changed.History comes alive in this lyrical and moving true story of one woman's courage and the inception of one of the most famous royal lineages of all time.

"In this ... horror story based on true events, [President Franklin Pierce's] late son haunts the White House, breaking the spirit of what remains of the First Family and the divided America beyond the residence's walls"--

"The "lively" (The New York Times) Agents of the Crown series continues with this thriller about Queen Elizabeth I's advisor John Dee in a race to save the Empire with the help of a mysterious manuscript that offers global power. With rumors of the end times swirling, philosopher and astronomer John Dee travels to Prague in an effort to prevent one of Catherine de Medici's seductive ladies-in-waiting from luring the Holy Roman Emperor into a crusade against England. To convince the famously occult-loving Emperor to join his side, Dee entices him with the esoteric Book of Secrets, a volume that, if decoded, could provide the chance to control the levers of heaven and earth. But Dee faces enemies at every turn, including a female codebreaker who could be the undoing of Dee and the British Empire"--

This illustrated guide to the Voynich Manuscript is targeted mainly at those who have recently come across the book and are wondering what all the fuss is about, and why, after more than a century of effort, nobody has cracked its code yet. It should also be useful as a set of tests for those who believe they may have cracked the code, so that they can see how their solution matches up against each of the puzzles or notable features described. And finally, it is hopefully of interest to those already familiar with the manuscript - perhaps they will find something new or thought provoking within. An examination of the many theories surrounding this enigmatic text, apparently written in codeReveals the connections between this work and the Cathars, Roger Bacon, and John DeeExplains the cryptanalysis methods used in attempts to break the codeIncludes color images from the manuscript juxtaposed with other medieval writingsThis information, together with the images themselves, invites readers to form their own interpretations of this most famous of enduring mysteries.The elegant design of this Watkins edition is a fitting showcase for the manuscript's strangely beautiful cryptographic script and otherworldly illustrations, which include astrological, astronomy, herbal medicine and enigmatic drawings of naked women bathing.

Studienarbeit aus dem Jahr 2015 im Fachbereich Kunst - Kunstgeschichte, Note: 3,0, Friedrich-Alexander-Universität Erlangen-Nürnberg (Kunstgeschichte), Veranstaltung: Altniederländische Malerei, Sprache: Deutsch, Abstract: In allen vier Evangelien wird erwähnt, wie Joseph von Arimathäa Pontius Pilatus darum bitte, Jesus beerdigen zu dürfen. Jedoch wird die Kreuzabnahme selbst in den Evangelien nur kurz zur Sprache gebracht, wie eben aus dem Johannes-Evangelium zitiert (noch kürzer wird es in den anderen drei Evangelien dargestellt). Trotzdem ist sie in der Bildenden Kunst eine überaus beliebte Darstellung und kann auch schon auf frühmittelalterlichen Tafelmalereien betrachtet werden. Zu Anfang gestaltete sich die Kreuzabnahme-Gruppe minimalistischer als in der darauffolgenden Zeit: Jesus war meist mittig vor dem Kreuz dargestellt, Maria zu seiner Rechten seine Hand küssend und Johannes zu seiner Linken. Später kamen noch Joseph von Arimathäa und Nikodemus hinzu. Bei Rogier van der Weydens Kreuzabnahme sind noch weitere Personen dargestellt, die später näher erläutert werden sollen.

« Du Lais au Testament, la frénésie délirante du langage, qui détruit la nature humaine et traduit la perversité du monde, enferme davantage Villon dans sa détresse, rejeté de la société, acceptant sa différence, s'enfonçant plus loin dans le cauchemar. Jongleur, le rire qu'il dispense menace à tout moment de s'étouffer dans un sanglot. Du Lais au Testament, nous assistons à la chute d'un être qui perd son identité, qui se replie sur lui-même et dont l'imaginaire prend le pas sur les autres formes d'expression. Le carnaval dans lequel se meuvent ces êtres grotesques et ces figures grimaçantes est pour Villon le seul moyen non pas de cacher son désespoir, mais de l'exprimer. C'est pas lui que le poète assume la dégradation de son être. En bouleversant et recréant le monde concret, Villon en révèle la vraie nature, la cruauté et l'étrangeté, et lui-même se dissout dans le tumulte du monde qu'il a créé. »

A secret past can destroy the futureIt all begins when Wade Kaplan receives a strange, coded email from his uncle Henry, shortly before the old man's sudden and suspicious death. He sets off for Germany to attend the funeral with his father, Roald, and his three friends Darrell, Lily, and Becca, only to discover that Uncle Henry left them yet another baffling message that they suspect is the key to figuring out how and why he died.The message leads to a clue, which sends them to a dark and creepy family tomb. The more clues they discover, the farther they travel down a treacherous path toward an ancient, guarded secret. Soon, they are in a breathless race across the globe, running for their lives as a ruthless shadow organization chases them around every corner. Their only hope of saving themselves?and the world that they know?is to find twelve magical relics from a hidden past that will unlock the Copernicus Legacy.The Forbidden Stone is the beginning of Tony Abbott's epic new series, a thrilling adventure packed with puzzles, intrigue, and action.

What ties western art together? This extended essay attempts to distill some of the basic ideas with which artists and observers of their art have grappled, ideas worthy of ongoing consideration and debate. The fostering of visual creativity as it has morphed from ancient Greece to the present day, the political and economic forces underpinning the commissioning and displacement of art, and the ways in which contemporary art relates to past periods of art history (and in particular, the Renaissance), are among the topics broached. Architecture, drawings, prints, films, painting, sculpture, and decorative arts from Europe and the US are considered and examined, often including nonstandard examples, occasionally including ones from the immediate surroundings of the author (who is based in New England). Although this book is primarily geared to those who would like a brief introduction to some basic aspects of a visual tradition spanning thousands of years, students of aesthetics might also discover useful benchmarks in this concise overview. The author places the emphasis on how art has been used and loved (or sometimes despised or ignored) more than on which works should be most famous.

What ties western art together? This extended essay attempts to distill some of the basic ideas with which artists and observers of their art have grappled, ideas worthy of ongoing consideration and debate. The fostering of visual creativity as it has morphed from ancient Greece to the present day, the political and economic forces underpinning the commissioning and displacement of art, and the ways in which contemporary art relates to past periods of art history (and in particular, the Renaissance), are among the topics broached. Architecture, drawings, prints, films, painting, sculpture, and decorative arts from Europe and the US are considered and examined, often including nonstandard examples, occasionally including ones from the immediate surroundings of the author (who is based in New England). Although this book is primarily geared to those who would like a brief introduction to some basic aspects of a visual tradition spanning thousands of years, students of aesthetics might also discover useful benchmarks in this concise overview. The author places the emphasis on how art has been used and loved (or sometimes despised or ignored) more than on which works should be most famous.

Taking into account the destructive powers of globalization, Making Worlds considers the interconnectedness of the world in the early modern period.This collection examines the interdisciplinary phenomenon of making worlds, with essays from scholars of history, literary studies, theatre and performance, art history, and anthropology. The volume advances questions about the history of globalization by focusing on how the expansion of global transit offered possibilities for interactions that included the testing of local identities through inventive experimentation with new and various forms of culture. Case studies show how the imposition of European economic, religious, political, and military models on other parts of the world unleashed unprecedented forces of invention as institutionalized powers came up against the creativity of peoples, cultural practices, materials, and techniques of making. In doing so, Making Worlds offers an important rethinking of how early globalization inconsistently generated ongoing dynamics of making, unmaking, and remaking worlds.

The course of true love never did run smooth.Demetrius and Lysander love Hermia. Hermia loves Lysander, but is betrothed to Demetrius?much to her dismay. And no one loves Helena, though her heart belongs to Demetrius. It seems that love could never be so complicated! When Hermia and Lysander escape through the forest to elope, Demetrius chases them?and Helena chases him. With the magic of the forest bewitching the hand of fate, perhaps their dreams of love will come true. . . . Beautifully presented for a modern teen audience with both the original play and prose retellings selected from the Your Midsummer Night's Dream writing contest on inkpop.com, this is the must-have edition of William Shakespeare's timeless classic.

Motorisch-mechanische Zeichentechniken wie Pause, Abklatsch und Cut&Paste gehören zu den elementaren Werkstattpraktiken der Vormoderne. Sie wurden ebenso in der Ausbildung wie von renommierten Künstler:innen wie Leonardo, Dürer, Michelangelo und Rubens eingesetzt, um Entwürfe zu verändern, den Motivvorrat zu erweitern und neue Kunstwerke herzustellen. In der damaligen Kunsttheorie waren sie jedoch weitgehend unbedacht oder gar herabgesetzt. Nur wenige Positionen der Wertschätzung bis hin zur entschiedenen Nobilitierung von Abklatschen im 18. Jahrhundert sind zu verzeichnen. Die Diskrepanz zwischen der Bedeutung der Zeichentechniken in der Praxis und ihrer Thematisierung in der Kunsttheorie blieb lange unbeachtet. Der vorliegende Band unternimmt in dieser Hinsicht eine unverzichtbare Neuperspektivierung der Zeichnungsforschung und bindet dabei transdisziplinäre Kontexte wie kunsttechnologische und philosophische Gesichtspunkte ein.

Wie sahen die frühen imperialen Visionen im Frankreich der Régence aus? Das Buch bietet eine neue und auch provokative Deutung von Jean-Antoine Watteaus Pilgerfahrt zur Insel Cythera (1717), indem es das Werk in den Kontext der französischen kolonialen Expansion in den Jahren der Régence stellt. Die galante Ästhetik, die während der Herrschaft und im Imperium Ludwigs XIV. entstand, trug dazu bei, die koloniale Begegnung in Französisch-Amerika zu gestalten. Die Fantasien vom Aufbruch zur See, vom Einschiffen oder Ausschiffen, allesamt Merkmale des Gemäldes, drückten auch die Sehnsucht nach kolonialen Reisen und Entdeckungen aus. Die imperiale Imagination, die sich aus den Codes der Galanterie speiste, war in den Kreisen von Watteaus amateurs, die ihrerseits den Modernen nahestanden, die neue ästhetische Formen in Kunst und Literatur förderten, sehr ausgeprägt. Von Watteaus Pilgerfahrt zur Insel Cythera (1717) bis zu ihrer visuellen Nachstellung im Jahr 1763 diente die Galanterie als visuelles und konzeptionelles Modell der französischen Handels- und Kolonialbeziehungen.

Vermutlich im Auftrag der niederrheinischen Prinzessin und späteren Herzogin von Lothringen, Philippa von Geldern (1467-1546), entstand zu Beginn des 16. Jahrhunderts im Umfeld des Pariser Hofes ein reich illustriertes Stundenbuch. Jean Coene IV., einer der wenigen namentlich bekannten Buchmaler der Zeit, stattete das außergewöhnliche Werk mit einem komplett durchillustrierten Kalender und 24 (von einst wohl 27) großen Miniaturen aus. Erstmals wird das in Privatbesitz befindliche Stundenbuch nun vollständig der Öffentlichkeit präsentiert - begleitet von einer Untersuchung der Rolle der Auftraggeberin und von der Einordnung des buchmalerischen OEuvres des Jean Coene IV. und seiner Werkstatt in den Kontext der Pariser Buchkunst um 1500.

"Originally published as Verita nascoste sui muri dei Maestri: Michelangelo, Raffaello, Perugino, Pintoricchio e gli altri in Vaticano copyright 2016 Editoriale Artemide s.r.l."--Title page verso