Rembrandt (brow, the etching of Burgomaster Six): * see EndNote<A>

1647 etching by Rembrandt, known in five states. It shows Jan Six, also the subject of a painted portrait by the same artist.

 

Rembrandt (brow, portrait of an architect at Cassel): * see EndNote<B>

aka Portrait of Andries de Graeff;  Amsterdam, was the birthplace of Andries de Graeff (1611-1678), mayor of Amsterdam, art collector and patron of the poet Joost van den Vondel. De Graeff was one of the most powerful Amsterdam governors of the Golden Age.

 

Marees:

see Chapter VII, page 244

 

Leibl (Frau Gedon)

see Chapter VII, page 252

 

Apollo (brow):* see EndNote<C> 

The Temple of Zeus at Olympia, built 2nd quarter 5th century BC, was the very model of the fully developed classical Greek temple of the Doric order.  Its pediments were filled with sculptures in the Severe Style, attributed to the "Olympia Master" and his studio (active 470 to 457 BC).  The temple & sculpture is a product of the Age of Pericles which began in 478 BC with the defeat of the Persian invasion, ending 404 BC with defeat to Sparta. 

 

Poseidon statue (brow):* see Endnote<D>

An example of original sculpture (not a Roman copy) fom the Age of Pericles (478-404 BC) is the Poseidon of Artemision, bronze statue, attributed to Kalamis, 460 BC.

 

Gothic (draped body): * see EndNote<F>

John Ruskin noted that Gothic drapery concealed the body & insured the imprint of the body was NOT impressed on the fabric’s heavy surface.  This heaviness also served to reduce bodily movement, which assisted the body to be passive, allowing the soul to be active.  This removal of agitation (Ruskin called it ”absence as presence”) was the guiding principle of Gothic drapery in sculpture.  Furthermore the verticality & flatness of the drapery also tended to diminish the body.

 

counterpoint (voices):

the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour; identified in the European classical tradition, strongly developing during the Renaissance & especially in the Baroque. The term originates from the Latin punctus contra punctum meaning "point against point".  To write effective counterpoint a composer must produce internal structures that create each of the voices separately but which must contribute to the emergent structure of the polyphony, which in turn must reinforce and comment on the structures of the individual voices.

 

Baroque music (continuo versus orchestral upper voices):

The use of the basso continuo (aka continuo), was universal in the Baroque era (1600–1750)  & provided the harmonic structure of the music.  The continuo group consisted of chord-playing instrumentalists (harpsichord, lute) improvising chords from a figured bass part, and instruments playing in the bass register (cello, double bass, bass viol, or bassoon).  Composers during this era used the 4 string instruments in a soprano-alto-tenor-bass arrangement.  Each string instrument had its role based on the note ranges they can reach.  There is some overlap of range, but generally the smaller bodies & strings of the violins and violas l play in higher ranges or registers, while the large bodies & longer, wider strings on cellos and basses give them a deeper, lower range.  The string section is the most defining of the orchestra, within it the violins are generally the most defining members of the string family.  The “upper voices” refers to instrument which play a powerful high register.  Commonly, the melody is assigned to the first violins which will play the high register notes. 

 

bass melody:

aka bass line; since the Baroque era in the early 1600s, composers have conceived of music as having 3 basic roles: melody, harmony, and bass.  Much Baroque music was written in a shorthand notation style called figured bass, in which the melody and bass were notated, each shown as single-note lines of music while all the harmony parts were indicated by numbers, or figures.  Both bass and melody consist of lines of single notes, but their roles are quite different. The melody is what gives a song its identity.  The bass will gravitate to the lowest pitch in any given piece of music; instruments that typically play the bass line play in the lower end of their (already low) frequency range, well adapted for playing these lines.  The melody tends to move towards a higher pitch in the music, higher than the bass.  Bass instruments are designed for low sounds.  Low sounds vibrate slower than high sounds; and big things vibrate slower than small things. Traditionally, acoustic bass instruments such as upright bass and tuba are much larger than their melodic counterparts (violin, viola).

 

motives:

aka motif; a short musical phrase, salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition; it is is the smallest structural unit possessing thematic identity.  The motif may have harmonic, melodic and/or rhythmic aspects, and it is most often thought of in melodic terms.

 

Egyptian statue (body as a mathematical scheme): * see EndNote<G>

Representations of the human figure in ancient Egyptian art conformed to highly stylized principles in which the proportions between the different parts of the human body were determined by a set of fixed laws constituting a Canon of Proportions.  Egyptian artists used a conventional system of proportion which was found to be aesthetically pleasing, while also rendering their subjects in idealized forms which may or may not have been faithful to the exact proportions of the persons in question. This Egyptian Canon of Proportions was maintained over many centuries through the medium of the artist's grid, in which the different parts of the human body corresponded to different squares in the grid. This grid system was not merely a copying device which made it possible to render a particular scene on any chosen scale, but rather a complete system of proportions by means of which the human figure could in theory be correctly represented.

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draperies (on Athens to reveal the body):* see EndNote<H>

reference ot the wet drapery look, a style of sculpture in Greek art where the clothing appears transparent and clings to the body, in the manner of wet clothe, in order to keep a figure (usually a woman) clothed and modest while allowing the shape and details of her body to show through the clothing.

 

High Renaissance (battle): * see EndNote<I>

The Renaissance was consciously anti-Gothic rejecting what it saw as Gothic elements (religious, non-corporal, 2D flat perspective).  Spengler argues that in fact this impulse was overcome by the unconscious Gothic Soul, which would lead from the High Renaissance, to Baroque.  The Gothic soul, supressed in the 15th century, burts forth again, in the music of the Baroque.

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Act:

body, instant, foreground, proportion; Euclidean number; a statue rooted to the ground, a fresco tied to the wall- BECOME

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Portrait:

space, history, background, relation; analytic number; music- space without limits; oil painting picture not tied but free; BECOMING

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Cupid or Putto:

putto is the singular of the Italian word putti. The Italian word comes from the Latin word putus, meaning "boy" or "child".  In Greco-Roman art, these winged infants were believed to influence human lives. In classical mythology, Cupid (meaning "desire") is the god of desire, erotic love, attraction and affection, often portrayed as the son of the love goddess Venus and the war god Mars. In Latin he is Amor ("Love"); his Greek counterpart is Eros.  In Classical Greek art Eros is portrayed as a slender winged youth, during the Hellenistic period, he was increasingly portrayed as a chubby boy.