The castle ruin known as Pontefract Castle is located in the English West Yorkshire town of Pontefract. It is believed that King Richard II passed away there. It saw several well-known sieges during the English Civil War in the seventeenth century. Built in around 1070, Ilbert de Lacy built the castle atop a rock above All Saints Church, to the east of the town, on property that William the Conqueror had given him in exchange for his assistance during the Norman Conquest. Nonetheless, there is proof that the location was occupied in the past. The castle was originally made of wood, but over time, stone was added. Ilberts Castle was mentioned in the Domesday Survey of 1086, most likely referring to Pontefract Castle. In the 12th century, Robert de Lacy was not present to assist King Henry I when he was fighting his brother for control of the castle. For the Honour of Pontefract, Roger de Lacy gave King Richard I 3,000 marks, but the King kept the fortress. In 1199, the year John came to the throne, his successor King John awarded de Lacy the castle. Eldest son of John, Roger, succeeded him after his death in 1213. Nevertheless, Castle Donington and Pontefract Castle were seized by the King. Up until the early 14th century, the de Lacy family resided in the fortress. During the tenure of the de Lacys, the beautiful multilobate donjon was constructed. The estates of the House of Lancaster inherited the castle by marriage in 1311. Six days following his defeat at the Battle of Boroughbridge, Thomas, Earl of Lancaster, 1278–1322, was executed outside the castle walls as a result of a sentence imposed on him in the great hall by King Edward II. Because of this, the earl was martyred and his tomb at Pontefract Priory was turned into a shrine. The third son of King Edward III, John of Gaunt, received it after Henry, Duke of Lancaster. He turned the castle into his own home and lavished enormous sums of money on renovations. On June 25, 1483 in Pontefract Castle, brother of Elizabeth Woodville i.e. Anthony Woodville, 2nd Earl Rivers and her son Sir Richard Grey were murdered by Richard III. Thomas Darcy, 1st Baron Darcy de Darcy, the custodian of the castle, gave the castle to the organizers of the Pilgrimage of Grace, a northern English Catholic uprising against King Henry VIII, in 1536. Because the monarch considered purported surrender of Lord Darcy to be treasonous, he was put to death. The fortress was occupied by King Henry VIII of England, who arrived on August 23, 1541, as part of his summer royal tour of the North. King James visited Pontefract Castle on April 19, 1603, while traveling south to London, and spent the night at the Bear Inn in Doncaster. The castle was part of English jointure property of his wife Anne of Denmark. At the outset of the English Civil War, Pontefract Castle was under the control of Royalists. December 1644 saw the start of the first of three sieges, which lasted until March 1644, when Marmaduke Langdale, 1st Baron Langdale of Holme, came with Royalist reinforcements and the Parliamentarian army withdrew. Artillery and mining activities during the siege caused damage, which led to the collapse of the Piper Tower. Oliver Cromwell led the last siege of Pontefract Castle in November 1648. Charles I was put to death in January. The defenders at Pontefract reached an agreement, and on March 24, 1649, Colonel Morrice turned over the castle to Major General John Lambert. On March 27, Parliament issued an order directing that Pontefract Castle be completely destroyed, leveled to the ground, and its belongings sold off. Tearing down the castle slowly after the main organized activity of slighting may have added to its ruinous state. Nonetheless, visitors can still tour the 11th-century cellars of the castle, which were used for keeping military hardware during the Civil War [Information and Image Credit : Pontefract_Castle, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Pontefract_Castle ] [Image : Early 17th-century painting in the Pontefract Castle Museum by Alexander Keirincx] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The author died in 1652, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929. (Please Relate to Individual Image URLs for More Usage Property and Sharing, Remixing or Attributing the Work)] [Original Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:Pontefract_Castle.jpg ] #History#Architecture#Castles
In Lower Engadin, Graubünden, next to erstwhile municipality of Tarasp, sits the castle known as Tarasp Castle. It is a nationally significant Swiss heritage site. Most likely constructed in the eleventh century, Tarasp Castle may have been constructed as early as the tenth. The term Wild Earth, Terra Aspera, may allude to the recently discovered areas in the Inn River Valley. By 1089, when Ulrich von Tarasp was named in a papal mandate addressed to the Bishop of Chur, they had taken on the name of the fortress. As part of their plan to establish a barony in the hitherto deserted high alpine valley, the family established Scuol Monastery at the same time as Marienberg Abbey. At this point, the castle was made up of a chapel with a bell tower that doubled as a guard tower, and a ring wall. A ring wall, a portion of the chapel, and its bell tower served as the initial defenses of the site. West of the chapel, a massive palas with walls two meters thick was constructed in the thirteenth century, and it eventually became the heart of castle. It is likely that the residential wings date back to the 13th century as well. The castle was attacked multiple times and burnt twice throughout the 16th and 17th century. Throughout those years, numerous reconstructions and renovations were made to the dwelling wings in particular. The lower floors received wood decorations, new windows pierced through the rock walls, and vaulted ceilings. The chapel has been incorporated within the castle-ring-wall. Only remnants of the 12th-century paintings that adorned the apse still survive. In the seventeenth century, the interior was refurbished. The freestanding bell tower was most likely constructed as a watchtower and church tower combined. It has a five-story height with an ornate Baroque onion dome on top. To defend the castle from attacks, the two half towers and the zwinger, or outer courtyard, were most likely constructed in the sixteenth century. The castle underwent renovations in 1714–1715 and Iin1732. The outer walls are coated with white plaster and adorned with late fifteenth-century coats of arms. Although they have since faded, these paintings were still visible in 1900. A handful, though, have recently undergone restoration efforts [Information and Image Credit : Tarasp_Castle, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Tarasp_Castle ] [Image : Tarasp village and castle; Wikipedia-Image-Author : Roland Zumbühl] [Image Availed Under Creative Commons Attribution-Share Alike 3.0 Unported license; (Please Relate to Individual Image URL for More Usage Property)] [License-Link : https://creativecommons.org/licenses/by-sa/3.0/deed.en ] [Wikipedia-Image-Source-Link: https://en.wikipedia.org/wiki/File:Tarasp-03.jpg ] #History#Architecture#Castles
At Cumae, a Greek settlement close to Naples, Italy, the priestess in charge of the Apollonian oracle was known as the Cumaean Sibyl. The ancient Greek word Sibylla, which implies prophetess, is whence the word sibyl originates. Throughout antiquity, sibyls were prevalent. Due to her close proximity to Rome and her significance in the early Roman traditions preserved in Aeneid VI of Virgil, the Cumaean Sibyl rose to prominence among the Roman populace. Greek mythology associated the Erythraean Sibyl with modern-day Turkey, and the Sibyl of Dodona, the oldest known Greek oracle, with Herodotus dating her to the second millennium BC, with eastern favor. One of four sibyl paintings by Raphael in Santa Maria della Pace is the Cumaean Sibyl. Andrea del Castagno portrayed her as well. In Sistine Ceiling of Michelangelo , her strong presence dwarfs that of all the other sibyls, including the younger and more attractive sisters like the Delphic Sibyl
[Information and Image Credit : Cumaean_Sibyl , Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Cumaean_Sibyl ]
[Image : Cumaean Sibyl by Andrea del Castagno (1420–1457)]
The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The Work (Image) is also believed to be in Public Domain in the United States of America as well. (Please Relate to Individual Image URL for More Usage Property)]
[Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:SibylCumae.jpg ]
#Mythology
The Reifenstein Castle is located in the northern Italian region of South Tyrol in Freienfeld, close to Sterzing. It is situated in the Eisack Valley next to a dried-up marsh. The 12th century is when the castle is first mentioned, and the 14th century saw modifications. It belongs to the counts of Thurn und Taxis. It is well-known for its ornate Green Hall, which features wood-carved chapel doors and Gothic paintings, as well as its collection of armor and stubes. A medieval sleeping bunk and an actual kitchen and bathroom may also be found in the castle. William P. Carr, who purchased the castle just before World War II, was one of its owners. His surname was Reifenstein at the time, but he had changed it to Carr before the war
[Information and Image Credit : Reifenstein_Castle, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Reifenstein_Castle ]
[Image : Reifenstein Castle, Wikipedia-Image-Author ::-
User:Matthias Süßen
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[Wikipedia-Image-Source-Link :
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In the northern Italian province of Parma, close to Langhirano, sits the 15th-century Torrechiara Castle. It is strategically located south of the city of Parma, atop a terraced hill with a view of the Parma River and the valley below. Pier Maria II de Rossi, the fourth count of San Secondo, ordered the construction of the fortress, which was completed between 1448 and 1460. The fortification demonstrates the impact of the strongholds of the Sforza family, especially Visconti-Sforza Castle. In addition to serving as an aristocratic home for the mistress of de Rossi, Bianca Pellegrini d Arluno, the castle was constructed as a defensive fortress. Bianca passed away in Torrechiara circa 1480. In 1482, Pier Maria retired to Torrechiara, where he passed away a few months later. Both of them were interred in the northeast tower of the castle, at the Oratory of San Nicomede. Over the ages, the castle saw numerous ownership changes before being designated as a national monument in 1911. The Italian State bought it the next year and let the public use it without any furnishings. The castle was mostly rebuilt between 1448 and 1460, although it dates back to the Middle Ages. It comprises four rectangular towers united by two lines of merloned walls. Many rooms in the interior are furnished with fantastical, grotesque, or realistic characteristics. The paintings in the lunettes depict Bianca Pellegrini running through Rossi and her estates in quest of her beloved; Benedetto Bembo is credited with creating the fresco cycle. The room opens up onto a broad loggiato. On December 23, 2008, a moderate earthquake with a magnitude of roughly 5.2 rocked the area, seriously damaging the castle, especially the battlement and the outside walls of San Nicomede Tower. When structural renovations were finished in 2009, some of the rooms were off-limits to the general public. On the ground floor, where the early 19th-century reconstruction of the collapsing roof slab had occurred, the San Nicomede Oratory was refurbished. The old Sala della Sera was reconstructed and repaired on the main floor of the castle, and it was positioned at the end of the row containing the Aurora, Meriggio, and Vespro chambers. 2014 saw the castle reopen in July
[Information and Image Credit : Torrechiara_Castle, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Torrechiara_Castle ]
[Image : Castello di Torrechiara, Wikipedia-Image Author : Mdntb]
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[License-Link : https://creativecommons.org/licenses/by-sa/4.0/deed.en ]
[Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:Castello_di_Torrechiara_birdsview.jpg ]
#Castles#History#Architecture
The magnificent Frederiksborg Castle is located near Hillerød, Denmark. The biggest Renaissance mansion in Scandinavia, it was constructed as a royal palace for King Christian IV of Denmark-Norway in the early 17th century, taking the place of an earlier castle that Frederick II had acquired. Adjacent to the castle lake, Slotssøen, is a spacious formal garden designed in the Baroque style, spanning across three islets. Following a significant fire in 1859, the castle was reconstructed using historic blueprints and artwork. Its apartments were completely repaired and presented to the public as the Danish Museum of National History in 1882, thanks to the generosity of the general public and the brewer J. C. Jacobsen. The museum, which is open all year round, has biggest collection of portrait paintings in Denmark. It also gives guests the chance to see a number of the state rooms of the castles, such as the beautifully decorated and mostly spared from the fire Valdemar Room and Great Hall, as well as the Chapel and Audience Chamber. A fire engine was positioned in the castle year-round throughout the renovations. The Gøyes, a Danish aristocratic family, had long controlled the estate near Hillerød, which was once called as Hillerødsholm. Mogens Gøye, 1470–1544, Steward of the Realm, had played a key role in bringing the Danish Reformation in the 1520s and 1530s. In the northernmost of three nearby islets in the estate-lake, he resided in a half-timbered house. The land was called Hillerødsholm, which translates to islet of Hillerød. The couple became its owners after his daughter Birgitte married the courtier and naval hero Herluf Trolle in 1544. Trolle demolished the ancient structure and erected a bigger manor home in the 1540s. The first inland Danish castle was Frederiksborg Castle. Since the water had historically been the primary route of transportation, all previous castles had been located near ports or on the shore. Additionally, it was the first to be constructed entirely for leisure rather than defense. Because of its location in Hillerød, far improved roads—originally designated for the king—were developed [Information and Image Credit : Frederiksborg_Castle; Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Frederiksborg_Castle ]
[Image : Frederiksborg Castle, Denmark;
Wikipedia-Image-Author: :
Casper Moller, from London, United Kingdom]
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[Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:Frederiksborg_Castle_and_boat_crop.jpg ]
#Castles#History
Located at Downhill, County Derry, Downhill House was a mansion constructed in the late 1700s for Frederick, 4th Earl of Bristol and Lord Bishop of Derry. Before it was reconstructed in the 1870s, a large portion of the structure was destroyed by fire in 1851. After World War II, everything started to fall apart. Currently, Downhill House is a component of Mussenden Temple and Downhill Demesne, properties owned by the National Trust. After being appointed Bishop of Derry in 1768, the Rt Rev. Dr. Frederick Hervey, Lord Bishop of Derry of the Church of Ireland, ordered construction at Downhill Demesne close to the community of Castlerock, in the early 1770s. Architect Michael Shanahan constructed Downhill House, which boasts a view of Benone and Downhill Strand on the northern coast of Northern Ireland. However, it has been speculated that Charles Cameron or James Wyatt may have also contributed to the design in its early stages. It is estimated that the building of the House and the adjacent Mussenden Temple cost £80,000. The Lions Gate, the original main entrance to the demesne, was actually guarded by two snow leopards, or heraldic ounces, the supporters of the Hervey shield of arms. The Bishops Gate took its place as the entryway in 1784. The interior of the house was adorned with statues and frescoes, as well as paintings by a number of well-known artists. Cousin of Lord Bristol, The Rev. Henry Bruce, who had served as the steward of the manor during the absences of the Earl-Bishop, inherited the estate upon his death in 1803. Sister of Bruce was Frideswide Mussenden, for whom the Mussenden Temple was constructed; following her passing, the temple was turned into a memorial. While Downhill was reported to have avoided substantial damage during the 1839 Night of the Big Wind, a fire in 1851 destroyed the library and seriously damaged a large portion of the house. Bishop Lord Bristol had built two houses, one at Downhill and the other at Ballyscullion, where he maintained his extensive collection of artwork. Artists such as Correggio, Dürer, Murillo, Rubens, and Tintoretto lost their works in the fire, however most of the paintings were reportedly spared. Under the direction of John Lanyon, the son of architect Charles Lanyon, the home was restored from 1870 to 1874, keeping many of its original characteristics while adding to its floorplan and interior design and changing some of its original arrangement. The property served as a billet for RAF personnel and women during World War Two. The home was owned by the Bruce family until 1946; by 1950, it had been demolished and the surrounding land had been sold. The temple became a Trust property in the 1940s, and the house was purchased by The National Trust in 1980 [Information and Image Credit : Downhill_House, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Downhill_House ] [Image : Downhill House ruins in 2006 ; Wikipedia-Image-Author : Jean Smith from Bluewater Bay, Florida] [Image Availed Under Creative Commons Attribution-Share Alike 2.0 Generic; (Please Relate to Individual Image URLs for More Usage Property)] [License-Link : https://creativecommons.org/licenses/by-sa/2.0/deed.en ] [Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:Downhill_House.jpg ] #History
Said to have occurred around 770 A.D., the Battle of Brávellir, also known as the Battle of Bråvalla, is a legendary battle between Sigurd Hring, king of Sweden and the Geats of Västergötland, and his uncle Harald Wartooth, king of Denmark and the Geats of Östergötland. The battle has been recounted in the sagas as occurring on the Brávellir. A number of sources, including the Norse sagas Hervarar saga ok Heiðreks, Bósa saga ok Herrauðs, and Sǫgubrot af nokkrum fornkonungum, relate the story of the battle; however, nationalistic Danish history Gesta Danorum by Saxo Grammaticus contains the most detailed account of it. Ivar Vidfamne, maternal grandfather of Harald, had left him Sweden, but he ruled Denmark and East Götaland, while Sigurd Hring, his subordinate king, ruled West Götaland and Sweden. Legend has it that Harald realized he was getting old and might not make it to Valhalla due to old age. As a result, he asked Sigurd if he would permit him to triumphantly depart from this life in a significant conflict. Odin is implicated as well. Saxo Grammaticus claims that both hosts gathered armies of 200,000 men after preparing for seven years. Along with 300 shieldmaidens under the leadership of Hed, Visna of the Slavs, and Hedborg, Harald was accompanied by the legendary heroes Ubbe of Friesland, Uvle Brede, Are the One-eyed, Dag the Fat, Duk the Slav, Hroi Whitebeard, and Hothbrodd the Indomitable. The legendary fighters Starkad, Egil the Bald, Norwegian Grette the Evil, Blig Bignose, Einar the Fatbellied, and Erling Snake were enlisted by Sigurd. Arwakki, Keklu-Karl, Krok the peasant, Gummi, and Gudfast from Gislamark, a Norwegian, were well-known Swedes who participated. Numerous Saxons, Angles, Frisians, Finns, Estonians, Curonians, Bjarmians, Livonians, Norwegians, Slavs, Irish, Rus and other people joined them, each choosing a side. To construct the three thousand longships needed to carry the Swedes, entire forests were felled. The Danes under Harald built so many ships they could walk across the Øresund on them. According to legend, the battle happened south of Kolmården, which divides the territory of Bråviken, East Götaland, from Svealand, or actual Sweden. The majority of historians believe that the battle happened close to Bråviken, but in the 17th century, a minority opinion seems to have placed it at Lake Åsnen in Småland. The Sǫgubrotsaga and Gesta Danorum contain essentially identical accounts. Initially, both armies engaged in combat together, but eventually, Ubbi became the center of attention. He defeated three Swedish princes of the royal dynasty and the champion Tryggvi after taking down Ragnvald the Wise Councilor. Sent forth by the humbled King Sigurd Hring, the champion Starkad wounded Ubbi but also suffered more serious wounds. Subsequently, Ubbi eliminated Agnar, grasping the sword with both hands, he cut a path through the Swedish opponent until he was struck by arrows fired by the Telemark archers. Then, much to the ire of Starkad, the shieldmaiden Veborg killed the champion Soti and inflicted more wounds on him. Thorkell, the champion, then killed her in response. Enraged, Starkad now led the Danish army into battle, slaying warriors all around him and chopping off the arm of Visna, a Shieldmaden, which held the Danish flag. Following that, Starkad ernt on to kill the Champions Brai, Grepi, Gamli, and Haki. Following his observation of these valiant deeds, Harald also killed a large number of warriors to his left and right while kneeling in his chariot and holding one sword in each hand. Bruni, the steward of Harald, ultimately decided that his liege had accumulated enough glory and now used a club to smash the skull of his king. After losing the battle and killing forty thousand warriors, Sigurd now went on to become the sovereign ruler of all of Sweden and Denmark. Depending on the prevailing ideology among Scandinavian historians during the last two centuries, there has been back and forth in the general agreement regarding the historicity of the battle. Older scholarship, according to Swedish archaeologist Birger Nerman in 1925, had regarded the narratives of the battle largely as historical and had treated them without question. But in the final decades of the 1800s, the hypercritical school rejected the battle as real and even mythologized the region in which it took place. The Swedish encyclopedia Nationalencyklopedin summarized the controversy in 1990 when it stated that it is impossible to confirm the historicity of the battle. Another theory links the fight to the events of 827, the year that Harald Klak was banished from Denmark [Information and Image Credit : Battle_of_Brávellir, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Battle_of_Br%C3%A1vellir ] [Image : The Battle of Brávellir, painting by August Malmström] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work (Image) is also believed to be in public domain in the United States as well. (Please Relate to Individual Image URLs for More Usage Property)] [Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:August_Malmstr%C3%B6m-Br%C3%A5vallaslaget.JPG ] #History#Legend
A Late Gothic castle, the Albrechtsburg was built between 1471 and roughly 1495. It is situated in the German state of Saxony, in the heart of Meissen. It is next to the Meissen Cathedral, perched on a hill above the Elbe River. During the Siege of Gana in 929, King Henry I of Germany defeated the Glomacze tribe and established a castle on a rock above the Elbe river, where their village was located. This castle, named Misnia after a local creek, served as both the center of town and the home of the Margraves of Meissen starting in 965. The Margraves of Meissen went on to win the Electorate of Saxony in 1423. Frederick I was named Elector of Saxony in 1423. Ernst and Albrecht, his grandchildren, ruled over Thuringia and Saxony combined from 1464 to 1485. In 1471, they hired renowned builder Arnold von Westfalen to construct the first German palace on the site of the former margravial castle. Court of Wettin never really made Albrechtsburg Castle its center. The builders agreed on a split of their domain in 1485, while work was still ongoing. The united administration of the two brothers was disbanded, and the territory was split in half. Ernst, brother of Albrecht, gained the remaining Thuringian territories and the Duchy of Saxony with Wittenberg, to which the electorate was connected, while Albrecht received practically the Margraviate of Meissen with the freshly constructed castle and the eventual Thuringian district. Construction was suspended in the higher northern regions between 1495 and 1500 while internal finishing work was being completed. These lands were not finished until 1521 by Jakob Heilmann, the son of Duke Albrecht, Duke Georg, 1500–1539. The first floor of the northeastern structure features a loop ribbed vault in the style of the Prague-based architect Benedikt Ried, and the room above features a fireplace that dates from this era. During that period, the balustrades of the Great Staircase Tower required figural reliefs by sculptor Christoph Walther I, whose frames feature early Renaissance forms. In 1676, the castle was dubbed Albrechtsburg in honor of one of its founding lords. However, Georg the Bearded, son of Albrecht, was the one who initially moved inside Albrechtsburg Castle. The castle suffered severe damage during the Thirty Years War. It is been vacant ever since. Only in the early 1700s, after Augustus II the Strong established the Meissen porcelain factory at the castle in 1710, did Albrechtsburg Castle come back into the public eye. European porcelain was invented two years earlier by Johann Friedrich Böttger and Ehrenfried Walther von Tschirnhaus. Originally, Dresden was to be the factory, but Augustus the Strong decided on the abandoned castle because to its remote position because no other place would have had such a firm grasp on the formula for producing porcelain. The white gold became internationally known when the porcelain business moved into the erstwhile princely house on June 6, 1710. The castle was abandoned once more in the middle of the 1800s when the factory was relocated to a brand-new factory structure. The old manufacturing buildings were demolished and the castle is architecture was reconstructed between 1864 and 1870. Extensive paintings adorned the late Gothic walls, taking the place of the missing furnishings. Afterwards, the Frankfurt-based, well-known artist Alexander Linnemann was also involved in this process, helping to design the new doors, for example. The Albrechtsburg Castle was opened to the public at the close of the 1800s and continues to be a popular destination for both domestic and foreign tourists
[Information and Image Credit : Albrechtsburg, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Albrechtsburg ]
[Image : Albrechtsburg and Meissen Cathedral on the Elbe river; Wikipedia-Image-Author: Stephan Hoppe ]
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[License-Link : https://creativecommons.org/licenses/by-sa/3.0/deed.en ]
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#Castles#History
The Königsberg Castle served as a landmark for Königsberg, Germany, the capital of East Prussia, which later became Kaliningrad, Russia since 1946. The castle stood where an Old Prussian fort called Tuwangste once stood close to the Pregel River at a crucial crossing point in Prussian territory. Three Prussian villages in the area were later named —Löbenicht, Sackheim, and Tragheim. The Teutonic Knights replaced the Prussian fort with a temporary one made of earthworks and timber after capturing the area in 1255. By 1257, a brand-new Ordensburg castle made of stone was being built. Between the 16th and 18th centuries, the castle underwent numerous rounds of significant expansion and refortification. The Teutonic Order Grandmasters lived in the fortification, which eventually evolved into a castle, and Prussian emperors later made it their home. The splendid palace is described in the 1815 Encyclopaedia Britannica as having a handsome library and a hall that is 83.5 meters long and 18 meters wide without supports to support it. With 284 steps up to the summit and a height of almost 100 meters, the gothic tower of the castle offered panoramic views. This enormous structure, which was surrounded by a sizable quadrangle and was located virtually in the middle of the city, was once the headquarters of the Teutonic Order. In the sixteenth and eighteenth centuries, it was expanded and changed. On the Schloßkirche, often known as the palace church, on the west wing, Frederick I was crowned in 1701 and William I in 1861. The Order of the arms of Black Eagle members were inscribed on the walls and columns. The 83 m long and 18 m tall Moscowiter-Saal was located above the church. The apartments of Hohenzollerns and the Prussia Museum were both accessible to the general public every day up until the end of World War II. The museum housed numerous paintings by the artist Lovis Corinth as well as 240,000 exhibits from the Prussian collection, a collection from the Königsberg State and University Library, and more
[Information and Image Credit : Königsberg_Castle, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/K%C3%B6nigsberg_Castle ]
[Image : Königsberg Castle courtyard in c. 1900] [The Work (Image) is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928. The author of this image from Switzerland is unknown, and the image was published at least 70 years ago. It is therefore in the public domain in Switzerland by virtue of Art. 31 of the Swiss Copyright Act. (Please Relate to Individual Image URLs for More Usage Property)]
[ Art. 31 of the Swiss Copyright Act Link : https://shorturl.at/dnQR3 ]
[Wikipedia-Image-Source-Link : https://en.wikipedia.org/wiki/File:K%C3%B6nigsberg_Castle_courtyard.jpg ]
#History#Castles#Architecture
Abundantia, also known as Abundita or Copia, was a deity who represented wealth and abundance in the religion of the ancient Romans. Abundantia is Latin for plenty or wealth. This name is appropriate since Abundantia was a goddess of wealth, abundance, luck, fortune, valuables, and success. She would aid in safeguarding your investments and savings. Abundantia would even help with significant purchases. She was one of the religious depictions of virtue that portrayed the emperor as ensuring Golden Age conditions. Thus, Abundantia appears in literature, worship, and art but has little actual mythology. She might have survived in some capacity in medieval France and Roman Gaul. Thus, Abundantia appears in literature, worship, and art but has little actual mythology. She might have survived in some capacity in medieval France and Roman Gaul. Abundantia would go with a cornucopia loaded with grain and money. She occasionally left some of her grain or cash as a gift at home of someone. In the legend of Acheloüs, the river deity, whose horn Hercules tore from his forehead, the Augustan poet Ovid gives Abundantia a role. The Naiads took the horn and turned it into the cornucopia they gave to Abundantia. She was equated with Annona, who represented the grain supply, and Ceres on Neronian currency. Different aetiological myths offer diverse theories for the origin of the cornucopia. Abundantia was a virtue in action in places like the waterfront, where grain entered the city, similar to Annona. She is shown on Roman coins either holding the cornucopia or emptying it of the richness of its contents. On rare occasions, she is shown standing on a ship or holding a stalk of wheat. What her presence on ships denotes is uncertain. This can represent the wealth that the Roman Empire gained via its conquests. The deity is seen sitting and holding a cornucopia as a representation of the affluence that stems from act of Mithras in Mithraic imagery on a vase from Lezoux in the Roman province of Gallia Aquitania. A Pompeii fountain also included an image of Abundantia. Numerous medals of emperors feature Abundantia as those of Trajan, Antoninus Pius, Caracalla, Elagabalus, Severus Alexander, Gordian, Decius, Gallienus, Tetricus, Probus, Numerian, Carinus, Carus, Diocletian and Galerius, to name a few
[Information and Image Credit : Abundantia, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Abundantia ]
[Image : A painting of Abundantia made by Peter Paul Rubens] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The author died in 1640, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work (Image) is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928. (Please Relate to Individual Image URLs for More Usage Property)]
[Wikipedia-Image-Source-Link :
https://en.wikipedia.org/wiki/File:Peter_Paul_Rubens_-_Abundance_(Abundantia)_-_Google_Art_Project.jpg ]
#Mythology
In the western Highlands of Scotland, about a mile from the settlement of Dornie, is the tidal island with a Scottish castle known as Eilean Donan. The original fortress of the island, constructed in the thirteenth century and used as a stronghold by the Clan Mackenzie and its allies, the Clan MacRae, was taken by them in 1563. However, government ships demolished the castle in 1719 in retaliation for the participation of the Mackenzies in the Jacobite uprisings at the beginning of the 18th century. The original castle was rebuilt in the 20th century by Lieutenant-Colonel John Macrae-Gilstrap to become the current structure. One of the 40 National Scenic Areas of Scotland, Kintail, includes Eilean Donan. Eilean Donan is named in honor of the Celtic martyr Donnán of Eigg, who died in 617. There is no sign of the church that Donnán is claimed to have founded on the island. It is probable that around the sixth or seventh century, an early Christian monastic cell was established on the island. A fortification from the Iron Age or the early Middle Ages may have existed on the island, as evidenced by the discovery of stone fragments that have vitrified. During the rule of Alexander II,1214–1249, in the first half of the thirteenth century, a massive curtain-wall castle that encircled much of the island was built. The region around the island served as a good defensive position against Norse expeditions at the time since it was on the border between the Norse-Celtic Lordship of the Isles and the Earldom of Ross. According to a foundation legend, the son of a Matheson chief developed the ability to converse with birds. As a result of this talent and numerous overseas exploits, he amassed wealth, power and the esteem of Alexander II, who commissioned him to construct the castle to protect his domain. The presence of only one person on the island was all that was known about it in 2001
[Information and Image Credit : Eilean_Donan, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Eilean_Donan ]
[Image : Castle ruins, sometime before 1911]
[This UK artistic or literary work, of which the author is unknown and cannot be ascertained by reasonable enquiry, is in the public domain because it is one of the following:
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This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928] [(Please Relate to Individual Image URLs for More Usage Property)]
[Wikipedia-Source-Image-URL : https://en.wikipedia.org/wiki/File:Eilean_Donan_Castle,_pre_1911.jpg ]
#History#Castles#Architecture
In ancient Dura Europos, a city on the Euphrates in modern-day Syria, the Temple of Bel, also known as the Temple of the Palmyrene gods, was situated. The temple, which dates back to the first century BCE, is famous for its wall murals. Despite the current names of the building, it is unclear which deities were worshipped there. The temple was erected in honor of Alexander Severus when Rome was in power. The temple was then situated inside the military barracks of the XXth Palmyrene cohort. Since there is no indication of Palmyrene devotion during the Parthian era when the Temple was founded, Zeus was probably the focus of worship at the time the building was constructed. The holy of holies was situated in the west, the original construction phase comprised of a wide room, to which a vestibule was added in the second building phase, and in front of the holy of holies was a courtyard, surrounded by various rooms, whose function is not yet clear. The temple is situated in the northwest of the city, abutting the city wall. The northern and western walls of the temple are formed by the city wall. At least three construction phases can be distinguished. It is well known that the god Iarhibol was worshiped in the Temple of Bēl at Dura, which served as a hub of religious activity. The impact of the Bel-Marduk religion in Palmyra around 213 BC is where the term Bel, which refers to the god, originates. In pre-Hellenistic days, Bel was revered frequently alongside Iarhibol and Aglibol as a main deity. The Aramean deity Iarhibol was revered in prehistoric Palmyra. Iarhibol has appeared in a number of reliefs, where he is seen standing next to Aglibol to his right and is identified as the sun god, a member of the triad of Bel. Without these deities, Iarhibol is never depicted in busts or reliefs, forming the trinity of the Sun, Moon, and Earth. The paintings from the temple were found in 1920 by M. C. Murphy. James Henry Breasted, who examined the paintings and the temple and published a monograph about them in 1924, was given photos of the paintings. Westerners had never heard of the location before to discovery of Murphy. It was not until much later that it was linked to the ancient settlement of Dura Europos. The discovery of wall murals at the temple aroused curiosity, and The New York Times even covered the discovery
[Information and Image Credit : Temple_of_Bel,_Dura-Europos, Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Temple_of_Bel,_Dura-Europos ]
[Image : Temple of Bel] [Image Availed Under Creative Commons Attribution-Share Alike 2.5 Generic ; Wikipedia-Author : No machine-readable author provided. Heretiq assumed (based on copyright claims)]
[License-Link : https://creativecommons.org/licenses/by-sa/2.5/deed.en ]
[Wikipedia-Image-Link : https://en.wikipedia.org/wiki/File:DuraEuropos-TempleOfBel.jpg ]
#History
One of the biggest deer to ever exist was the Irish Elk, also known as the giant deer or Irish deer. It was a species of extinct deer in the genus Megaloceros. Numerous skeleton remains that have been discovered in Irish bogs have provided information about the Irish elk. During the Pleistocene, it had a range that spanned all of Eurasia, from Ireland to Lake Baikal in Siberia. Carbon dating has determined that the most recent remnants of the species were found in western Russia around 7,700 years ago. Irish physician Thomas Molyneux, who identified large antlers from Dardistown, Dublin—which were reportedly frequently discovered in Ireland—as belonging to the elk , also known as the moose in North America, came to the conclusion that the animal was once common on the island and provided the first scientific descriptions of the remanants of the animal in 1695. With Alce being a spelling variation of Alces, the Latin word for the elk, Johann Friedrich Blumenbach gave it its original scientific name of Alce gigantea in his Handbuch zur Naturgeschichte in 1799. The male skull with extraordinarily massive antlers that serves as the holotype for Megaloceros giganteus ,by Blumenbach in 1799, was discovered in the Dunleer area of County Louth, Ireland. Thomas Wright originally observed and described the huge deer, which is now on display in Barmeath Castle. The Irish elk appears to have had a generally light coloration, with dark stripes running along the back, stripes on either side from shoulder to haunch, a dark collar on the throat and chinstrap, and a dark hump on the withers between the shoulder blades, according to Upper Palaeolithic cave paintings. The majority of Irish elk fossils come from the Late Pleistocene. The majority of the M. giganteus fossils that are known come from Ireland and date to the Allerød oscillation at the end of the Late Pleistocene, some 13,000 years ago. Ballybetagh Bog in Dublin has seen the discovery of more than such hundred distinct findings. But the Irish Elk was not just found there. The Atlantic Ocean in the west to Lake Baikal in the east made up the vast range of the Irish elk. They do not seem to have ventured northward onto the wide mammoth steppe; instead, they seem to have remained in the low-lying spruce, pine, and low-growing herbs and shrubs-covered boreal steppe-woodland settings. Another name for the Irish elk was given by Richard Owen in 1844, and he included it in the newly created subgenus Megaceros as Cervus (Megaceros) hibernicus. This has been hypothesised to be descended from Cervus megaceros, a younger synonym of the Irish elk described by J. Hart in 1825. Irish elk remains are few outside of the Irish Late Pleistocene, indicating that they were typically scarce in the locations where they did occur. The weighty bulk of the antlers, a maladaptation that made it particularly challenging for males to run through forests while being pursued by human hunters, or being overly demanding nutritionally as the vegetation composition changed have all been blamed historically for the extinction of the species. In these cases, the drop would have been influenced by did sexually selecting stags with enormous antlers
[Information and Image Credit : Irish_elk , Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Irish_elk ] [Outdated 1897 reconstruction of doe and stag Irish elk by Joseph Smit]
[The (Image) work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 70 years or fewer. The (Image) work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928 (Please Relate to Original Image URL for more Usage Properties) ]
[Wikipedia-Image-Link : https://en.wikipedia.org/wiki/File:Extinct_monsters_BHL20699843.jpg ]
Cave paintings from Lascaux caves (Montignac, Dordogne, France). In the Dordogne area of southwest France, close to the commune of Montignac, is the Lascaux network of caverns. The inside walls and ceilings of the cave are covered with more than 600 parietal wall paintings. The paintings mostly feature huge creatures, indicative of the surrounding current fauna and consistent with the local Upper Palaeolithic fossil record. The paintings are the result of the work of many generations, and after much dispute, their age is now typically considered to be around 17,000 years
[Information Credit : Lascaux , Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Lascaux ] [Image Availed Under Creative Commons Attribution-Share Alike 3.0 Unported ] [License-Link : https://creativecommons.org/licenses/by-sa/3.0/deed.en ] [(Kindly Relate to Individual Image URL for More Usage Property)] [Wikipedia Source Image URL : https://en.wikipedia.org/wiki/File:Lascaux_painting.jpg ] #Art
The history of visual art in Europe is included in what is known as Western art, or art of Europe. Between the Palaeolithic and the Iron Age, mobile Upper Palaeolithic rock and cave painting and petroglyph art were the origins of European prehistoric art. Often, written accounts of European art start with the 3rd millennium BCE Aegean civilizations. The Ancient Greek art, which Rome inherited and modified before spreading it throughout most of Europe, North Africa, and Western Asia with the Roman Empire, does, however, reveal a constant trend of aesthetic evolution within Europe. Over the course of the next two thousand years, the influence of the art of the Classical period fluctuated, appearing to fade into obscurity in some areas of the Mediaeval period, reappearing in the Renaissance, experiencing a period of what some early art historians perceived as -- Decay -- during the Baroque period, reappearing in a more refined form in Neo-Classicism, and then resurfacing in Post-Modernism. Several stylistic periods that historically overlapped each other as various styles developed in various regions are used to categorise European art. Classical, Byzantine, Mediaeval, Gothic, Renaissance, Baroque, Rococo, Neoclassical, Modern, Postmodern, and New European Painting are the major historical periods
[Information and Image Credit : Art_of_Europe , Wikipedia]
[Wikipedia-Link : https://en.wikipedia.org/wiki/Art_of_Europe ]
[Image : Apelles painting Campaspe, an artwork which shows people surrounded by fine art; by Willem van Haecht; c. 1630; oil on panel; height: 104.9 cm, width: 148.7 cm; Mauritshuis (The Hague, the Netherlands) ]
[The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The photographic reproduction is also considered to be in the public domain in the United States (Kindly Relate to Individual Image URL for More Usage Property)] [Wikipedia Source Image URL :
https://en.wikipedia.org/wiki/File:Willem_van_Haecht_(II)_-_Apelles_painting_Campaspe_-_2.jpg ] #Art
In the myths of Lithuania and Latvia, Saulė is the ubiquitous Baltic solar goddess. The traditional term for the Sun in the Lithuanian and Latvian languages is Saulė/Saule. One of the most potent gods, Saulė is the sun goddess who gave birth to all life on Earth. She is the patron goddess of the downtrodden, particularly orphans. One of the earliest documented accounts of Lithuanian mythology makes reference to Saulė. Saulė and Mėnuo, the Moon, were a married couple. Mėnuo fell in love with Aušrinė, often known as Venus or the morning star. The Thunder God, Perkūnas, chastised Mėnuo for his adultery. Various versions of this penalty exist. According to one story, Mėnuo was punished by being split in half, but he failed to learn from his faults, therefore the punishment is now repeated every month. According to a different account, Mėnuo and Saulė were divorced yet both still desired to see their daughter Žemyna or Earth. Because of this, the Moon only appears at night and the Sun shines during the day. According to a third story, either the Dievas, the Supreme God, or Saulė defaced face of Mėnuo. Aušrinė is portrayed as daughter of Saulė and servant in other stories. Fire of Saulė is lit by Aušrinė, who also gets her ready for another day of flying. Bed of Saulė is made in the evening by Vakarinė, the evening star. According to Lithuanian mythology, Saulė was mother of other planets: Indraja i.e. Jupiter, Sėlija i.e. Saturn, Žiezdrė i.e. Mars and Vaivora i.e. Mercury. Summer solstice was the time of feast of Saulė. Making wreaths, searching for the fabled fern flower, building bonfires, dancing around and jumping over them, and wishing the Sun a happy rise the following morning at 4 am were all part of the Lithuanian Rasos and Latvian Līgo celebrations. The most happy traditional holiday is this celebration. Return of Saulė is commemorated as the winter solstice [Information and Image Credit: Saulė, Wikipedia; Wikipedia-Link : https://en.wikipedia.org/wiki/Saul%C4%97 ] [Image: A circa 1912 painting by Janis Rozentāls depicting the daughters of Saule (Saules meitas)] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The author died in 1916, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The Work (Image) is believed to be in Public Domain in the United States as well. (Please Relate to Individual Image URLs for More Usage Property)] [Wikipedia-Source-Image-URL : https://en.wikipedia.org/wiki/File:Rozentals_Saules_meitas.jpg ] #Mythology
Aristotle established the Peripatetic School, a philosophical institution, in the Lyceum of Classical Athens in 335 BC. Members of this unofficial organisation engaged in philosophical and scientific research. The school started to collapse about the middle of the third century BC, and it was not until the Roman era that it began to flourish again. The word Peripatetic is a transliteration of the ancient Greek word περιπατητικός which means -- Of Walking or Given to Walking About. The Peripatetic school was originally referred to as the Peripatos. Because of the peripatoi, or Walkways, of the Lyceum, where the members congregated, the school so acquired its name. Aristotle, unlike Plato, was not an Athens resident and was consequently unable to hold land; as a result, he and his associates met on the Lyceum grounds, much as earlier philosophers like Socrates had done. The school also started to be recognized to as the Lyceum because of its connection to the gymnasium. The Peripatetic assemblies were presumably run less formally in the beginning than the term School implies; there was presumably no established curriculum, requirements for pupils, or even membership fees. Aristotle did give lectures and classes there, but he also collaborated with other students on philosophical and scientific research. A lot of the works that have survived in name of Aristotle appear to be based on the lectures he delivered at the university. The goal of the school, at least in his days, was to examine philosophical and scientific hypotheses rather than advance any particular belief; those in charge of the school collaborated on an equal basis. Aristotle left Athens perhaps soon after the passing of Alexander the Great in June 323 BC to avoid persecution by anti-Macedonian forces in Athens because of his connections to Macedonia. Theophrastus succeeded Aristotle as head of the school after his passing in 322 BC. Strato of Lampsacus, who emphasised the naturalistic components of philosophy of Aristotle and embraced a sort of atheism, was the most notable member of the school after Theophrastus. The Peripatetic school experienced a downturn following Strato. All the philosophical schools of Athens suffered severe disruptions during the siege of the city in 86 BC by Roman general Lucius Cornelius Sulla and the Lyceum ceased to be a functioning organisation. Strangely, it seems as though this incident has given the Peripatetic school fresh life. The writings of Aristotle and Theophrastus were carried back to Rome by Sulla, where they served as the foundation for a new compilation of works of Aristotle put together by Andronicus of Rhodes, which is what is now known as the Corpus Aristotelicum.
[Information and Image Credit : Peripatetic_school, Wikipedia;
Wikipedia-Link : https://en.wikipedia.org/wiki/Peripatetic_school ]
[Image: Aristotles School, a painting from the 1880s by Gustav Adolph Spangenberg]
[The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The work is believed to be in Public Domain in the United States as well. (Please Relate to Individual Image URLs for More Usage Property)] [Wikipedia-Source-Image-URL :
https://en.wikipedia.org/wiki/File:Spangenberg_-_Schule_des_Aristoteles.jpg ] #Philosophy#philosophical
Swedish artist August Malmström (1829–1901) created a painting titled Dancing Fairies (Swedish: Älvalek). In the moonlit scene of the picture, fairies can be seen dancing above the water. One of the fairies bends over the river to catch a glimpse of herself as the others dance in the meadow in the lovely dusk. The morning mist transforms into fairies in this surreal painting, which shows the spirits of primeval nature. Elves are frequently depicted as having fair hair and wearing white clothing in Romantic art and literature. In its native Sweden, Dancing Fairies by August Malmström is a well-known piece of work of art. One of the Swedish artists who aimed to develop a distinct national Swedish art was Malmström, a professor at the Royal Swedish Academy of Arts. He used elements from both Norse mythology and folklore, and many of his paintings featured fairies and other natural spirits
[Information Credit : Dancing_Fairies, Wikipedia;
Wikipedia-Link: https://en.wikipedia.org/wiki/Dancing_Fairies ]
[The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The author died in 1901, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work (Image) is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1928. (Please Relate to Individual Image URLs for More Usage Property)]
[Wikipedia-Source-Image-URL :: https://bit.ly/3YlI3gD ] #Art#Mythology
Early eighteenth-century Irish portrait painter, translator, and art collector Charles Jervas lived between 1675 and 2 November 1739. Around 1675, John Jervas, son of Elizabeth, daughter of Captain John Baldwin of Shinrone Castle & Corolanty, High Sheriff of County Offaly, was born in Shinrone, County Offaly, Ireland. Between 1694 and 1695, Jervas worked as a working assistant for Sir Godfrey Kneller in London, England. Following the sale of several miniature copies of the Raphael Cartoons to Dr. George Clarke of All Souls College in Oxford in around 1698, he moved to Paris and Rome the following year, staying there for the majority of the following ten years before coming back to London in 1709 and getting good results as a portrait painter. Charles Jervas became a well-known artist who was frequently mentioned in the works of literary figures of the time by painting portraits of the intelligentsia of the city, including personal friends like Jonathan Swift and the poet Alexander Pope. Jervas succeeded Kneller as the Chief Painter in Ordinary to King George I in 1723 and later to King George II as a result of his expanding renown. He relocated to Hampton, London, after getting married to Penelope Hume, a wealthy widow who was rumoured to be worth £20,000. Up until his passing in 1739, he remained a resident of London. Jervas was the first to offer an introduction to the book, which also included a review of earlier translations of Don Quixote. Even though it was printed numerous times throughout the nineteenth century, it has received both great praise for being the most accurate translation of the book to that point and harsh criticism for being stilted and humourless [Information and Image Credit : Charles_Jervas, Wikipedia; Wikipedia-Link : https://en.wikipedia.org/wiki/Charles_Jervas ] [image: Self-portrait of Jervas] [The Image (Work) a faithful photographic reproduction of a two-dimensional, public domain work of art. The (Image) Work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 100 years or fewer. The Work is believed to be in Public Domain in the United States as well. (Kindly Relate to Individual Source Image URLs for More Usage Properties)] [Wikipedia-Source Image URL :: https://en.wikipedia.org/wiki/File:Charles_Jervas.jpg ] #Art
Irish artist John James Barralet, who lived between 1747 and January 16, 1815, devoted the last half of his professional career in the United States. Barralet was born in Dublin, Ireland, and is of French ancestry. After studying under James Mannin, he became a drawing teacher in Dublin early in his career. However, he eventually moved to London and began watercolour painting. In 1770, he sent three landscape paintings to the Royal Academy, and in the years that followed, he occasionally submitted work. He was hired to draw the covers for publications about Irish antiquities. He immigrated to America in 1795 and settled in Philadelphia, where he passed away in 1815. Infrequently between the years of 1775 and 1789, his brother J. Melchior Barralet, a teacher at the Royal Academy School, sent slightly coloured drawings to the Academy Exhibitions
[Information and Image Credit : John_James_Barralet, Wikipedia;
Wikipedia-Link: https://en.wikipedia.org/wiki/John_James_Barralet ]
[Image: View of Lucan House - John James Barralet; Wikipedia-Credit: Yale Center for British Art]
[Images Availed Under Creative Commons CC0 1.0 Universal Public Domain Dedication. The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. One can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.
[License-Link : https://creativecommons.org/publicdomain/zero/1.0/deed.en ]
[Wikipedia-Image-Source-Link:
https://en.wikipedia.org/wiki/File:John_James_Barralet_-_View_of_Lucan_House_-_B1975.2.160_-_Yale_Center_for_British_Art.jpg ] #Art
Helen Mabel Trevor was an Irish landscape and genre painter who lived from 20 December 1831 to 3 April 1900. On December 20, 1831, Helen Mabel Trevor was born in Lisnagead House in Loughbrickland, County Down. Trevor was the oldest daughter of Edward Hill Trevor, Esq. Father of Trevor gave her a studio as an early kind of support when she started to draw. She left Ireland in the 1870s, and until the 1890s, she was able to travel and pursue her education thanks to money from the Loughbrickland estate. Later in life, Trevor become deaf. On April 3, 1900, she suddenly passed away in her studio in Rue du Cherche Midi from a heart attack. She submitted The Youthful Mechanic and Portrait of William III to the Dublin Exhibition in 1853 before presenting Sketch from Life to the Royal Hibernian Academy in 1854. She later submitted artwork featuring a dog, a kitten, the hounds of the Newry Hunt, as well as a portrait, to the RHA in 1856. She provided two paintings of dogs in 1858. She spent four years studying at the Royal Academy of Arts in London in the 1870s after her parents passed away. Trevor relocated to Paris in 1880 and pursued studies there under Jean-Jacques Henner, Luc-Olivier Merson, and Carolus-Duran. In 1881 and 1882, she visited Brittany and Normandy with her sister Rose. The RA received her 1881 picture, Breton boys en retenue. Two Breton girls, another piece, was most likely created during this period. In 1883, she visited Concarneau, where it is possible that she ran upon the realism Jules Bastien-Lepage. The sisters travelled and studied the Old Masters during their six-year of travel and study in Italy after moving there in 1883. In 1889, Trevor went back to Paris and started working again for Carolus-Duran. During this time, she made regular trips to Brittany, but she spent the rest of her life in Paris at several addresses. She displayed at the Paris Salon in 1889, 1893, and 1899. She was given a honourable mention for her 1898 piece, Breton Interior. Fourteen of her paintings were sent to the RHA between 1889 and 1897, while others were sent to the RA. Two paintings by Trevor were left to the National Gallery of Ireland. Later, she was highlighted in The Centenary of Impressionism: Nineteenth Century French Art and Ireland, a 1974 NGI exhibit
[Information and Image Crdit : Helen_Mabel_Trevor, Wikipedia]
[Wikipedia-Link: https://en.wikipedia.org/wiki/Helen_Mabel_Trevor ] [Image: Helen Mabel Trevor]
[The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The Work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 70 years or fewer.The photographic reproduction is therefore also considered to be in the public domain in the United States. (Please Relate to Source Image-URL for More Image Usage Property)
Wikipedia-Image-Source-Link:
https://en.wikipedia.org/wiki/File:Helen_Mabel_Trevor_-_Self-Portrait_-_NGI502.jpg ] #Art
In the western Slovakian region of Trenčín, near the village of Beckov in Nové Mesto nad Váhom District, lies a castle that is in ruins called Beckov Castle. It is a cultural and national landmark, and the restorations that took place between 2002 and the final part of the 20th century gave it its current form. The original name of the castle, in Latin, was Blundix. The term was taken from the Slavic word Bludište, which reflected the challenging topography of the region. Subsequently, the name of the castle was changed to reflect that of the nearby village of Beckov. A klippe of the Hronic nappe that is effectively revealed by the Váh River is the Beckov Cliff. The fortress, which is perched on a rock beside a river, served as strategic outlook of Great Moravia. There was most likely a stone fortress constructed in the middle of the thirteenth century to guard the frontiers of the Kingdom of Hungary. During the turn of the thirteenth and fourteenth century, Matthew III Csák acquired ownership of the fortress, which he reinforced. Castellans took over management of the castle after his death in 1321 A.D. Miklós Bánffy received the fortress from Louis I of Hungary in 1379 as gratitude for his participation in conflicts in the Balkans and Italy. Sigismund, King of Hungary, gave the castle to Stibor of Stiboricz of the Clan of Ostoja, a Baron with Polish ancestry, in 1388. Stibor owned 31 castles, but he picked Beckov as his residence and took extra care of it. He had the castle Gothically rebuilt to serve as the residence of his family. To make Beckov a unique place, artists from Veneto, Poland, Germany, and Bohemia worked on it. Stibor also constructed a church that featured magnificent sculptural ornamentation and paintings, including a sculpture of Black Madona that was at the time regarded as one of the most beautiful sculptures of Europe. A family coat of arms carved out of stone was located at the entryway of the chapel. Stibor Stiboric of Beckov received the castle as an inheritance upon the passing of his faher in 1414. Stibor Stiboric eventually left the estate to his daughter Katarína because he did not have a son. The royal council, however, ruled that she could only be given the traditional financial distribution of one-fourth of her the estate od her father. One day before Sigismund passed away in 1437 A.D., he gave Pál Bánffy the castle, perhaps with the understanding that he would wed Katarína, which he did. After the Ottoman Empire defeated the Kingdom of Hungary in the Battle of Mohács in 1526, the Bánffy family rebuilt the castle into a Renaissance fortress and aristocratic residence. In 1599, a Tatar siege was effectively repelled by the stronghold. The castle was owned by the Bánffy family until Kristóf Bánffy, the only surviving member, passed away in 1646. After the passing of Kristóf Bánffy, Beckov Castle was progressively converted into a prison and barracks. The interior and roofs of the castle were destroyed by fire in 1729, leaving it in ruins. In 1970, the castle was designated as a national cultural landmark. It underwent renovated in the last decade of the twentieth century, giving it its current appearance
[Information Credit : Beckov_Castle, Wikipedia] [Wikipedia-Link : https://en.wikipedia.org/wiki/Beckov_Castle ]
[Image : Beckov, Trenčiansky kraj, Slovakia ; Credit: Daniel Pexels ; (Please Relate to Source Image-URL for More Image Usage Property and License)
Image-Source-Link : https://www.pexels.com/photo/photo-of-castle-1130256/ ] #Architecture
The Bodhrán is a frame drum with a diameter of 10 to 26 inches that is utilised in Irish music. The goatskin is attached to the side where in case synthetic heads or other animal skins are also sometimes used. To regulate the pitch and timbre, one hand is put against the interior of the drum head on the other side, which is open-ended. On such contemporary musical instruments, one or two crossbars that can be removed occasionally may be found inside the frame. Some professionally made contemporary Bodhráns use mechanical tuning mechanisms akin to those seen on drums in drum sets. The Bodhrán skins are typically tightened or loosened with a hex key depending on the weather. Bodhrán, the drum with a musical heritage that may predate Christianity and is thought to be indigenous to southwest Ireland, was asserted to be the native drum of the ancient Celts by Seán Ó Riada, an Irish composer and arranger of Irish traditional music. He speculated that it may have been used initially for winnowing or wool dying. The tambourine, which can be heard on some Irish music recordings from the 1920s and seen in a pre-Famine artwork, is also thought to have given rise to the Bodhrán in the middle of the nineteenth century. However, the Tambourine of the Poor Man, which was built out of agricultural equipment and lacked cymbals, was often used by mummers, or wren-boys, in isolated areas of the south-west. A sizable Halloween house party is shown in a big oil painting on canvas from 1833 by Daniel Maclise (1806–1870), in which a Bodhrán in the shape of a tambourine is prominently displayed. It is in a band of musicians that includes a violin, a fife, and union pipes. The back-hand of the player is used to strike the bodhrán, as is still occasionally done. Handcrafted frame drums were produced in the early twentieth century utilising willow branches for the frames, leather for the drumheads, and pennies for the jingles. Photos and films from the 1940s and 1950s depict Bodhráns with cipín-played jingles
[Information Credit : Bodhrán , Wikipedia ; Wikipedia-Link : https://en.wikipedia.org/wiki/Bodhr%C3%A1n ]
[Image : Painted Bodhrán for decoration purposes ; Wikipedia-Image-Author : Hinnerk R, Hinnerk Ruemenapf ; Images Availed Under Creative Commons Attribution-Share Alike 3.0 Unported ; (Kindly Relate to Individual Source Image URL for More Usage Properties)] [Image-License-Link : https://creativecommons.org/licenses/by-sa/3.0/deed.en ]
[Wikipedia-Source-Image-URL : https://en.wikipedia.org/wiki/File:177-Bodhran-Hinnerk-Ruemenapf-0037-p70.jpg ]
The archaeological center of Khalchayan, also known as Khaltchaïan, is situated close to the contemporary town of Denov in the Surxondaryo Region of southern Uzbekistan. It is believed to be a tiny palace or a receiving hall. It is situated in the Surkhan Darya Valley, which is a northern tributary of the Oxus, or the contemporary Amu Darya. The earlier Kushans or their Yuezhi or Tocharian forebears are typically credited with building the site. Galina Pugachenkova dug it up between 1959 and 1963. The clay sculptures and paintings that adorn the inside walls are dated to the middle of the first century BCE, but they are believed to depict events from as early as the second century BCE. Battles, feasts, and monarch portraits are shown in a variety of panels. It is thought that the Kushans and a Saka tribe are fighting in some of the Khalchayan sculptures. The Sakas are frequently depicted with side-wiskers in more or less hideous poses, in contrast to the stately demeanour of the Yuezhis. The bust of a Parthian monarch was found among the sculptures at Khalchayan, and based on the historical period and similarity to coins, it is possible that Vardanes I is depicted as he seeks sanctuary and potentially an alliance at the Yuezhi court in Bactria. After failing at the siege of Seleucia in the year 35 CE, Vardanes reportedly sought refuge among the Bactrians. Due to these occurrences, the Khalchayan picture of the Parthian monarch may have been painted between 45 and 47 CE, during which time Kujula Kadphises was possibly the Kushan ruler in power at the time. The art of Kalchayan, which dates to the latter half of the 2nd century BCE, is thought to have been influenced by Hellenistic art in the end, as well as perhaps by that of the cities of Eucratideia and Nysa. However, it also shares characteristics with the later Art of Gandhara and could have even been the inspiration for its creation. The startling likeness between the portrait of the Kushan king Heraios and the Gandhara Bodhisattva is also noted
[Information Credit : Khalchayan, Wikipedia; Wikipedia-Link : https://en.wikipedia.org/wiki/Khalchayan ]
[Image : Prince of Yuezhi of Khalchayan. The prized Saka cataphract armour with neck guard is lying at his feet. First millennium BCE. Uzbekistan Museum of Arts, nb 40. ]
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The Westminster Retable, the oldest known altarpiece in England made of panel painting, is thought to have been created in the 1270s for Westminster Abbey by a group of Plantagenet court artists, most likely for the high altar. It is believed that Henry III of England gave it as portion of his Gothic renovation of the Abbey. The artwork was only preserved because it was integrated into furniture between the sixteenth and nineteenth centuries, and the most of it can no longer be restored. With funding from the Getty Foundation and the Heritage Lottery Fund, the Cambridge-based Hamilton Kerr Institute started a six-year project to cleanse and protect what was left of the work in 1998. Once finished, it spent four months in 2005 on show at the National Gallery in London before being transported back to Westminster Abbey, where it was currently on view at the museum. The retable is painted on multiple linked oak panels measuring 959 x 3330 mm utilising thin colour glazes in linseed oil over gessoed surfaces. With six major flat panels and various minor wooden components, the structure is intricate. In order to replicate the lavish metalwork of goldsmiths found on some surviving retables and shrines on the Continent, as well as the now-destroyed Shrine of Edward the Confessor installed in the Abbey in 1269, the retable is divided into five sections by gilded wooden arcading, with pastiglia relief work, elaborate glass inlays, inset semi-precious stones, and paste gemstones. The painting is of exceptionally good quality, and judging by the excellent detail and several stylistic elements, it was most likely created by an artist accustomed to working on illuminated manuscripts. No accommodations were made for more popular taste since the intricate images were placed in a location on the high altar where they could only be seen by officiating clergy [Information-Credit : Westminster_Retable, Wikipedia; Wikipedia-Link:: https://en.wikipedia.org/wiki/Westminster_Retable ] [Image: One of the pieces of the altarpiece that is better preserved -- The Feeding of the Five Thousand] [The Work (Image) is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 70 years or fewer. The photographic reproduction is also considered to be in the public domain in the United States.] [Image-Source-Link : https://en.wikipedia.org/wiki/File:Westminster_400.jpg ] #Art
Along with other islands in Roaringwater Bay, Sherkin Island, formerly known as Inisherkin, is located in County Cork of Ireland to the southwest. Sherkin Island is a popular tourist location, and travel time from Baltimore to Sherkin is normally not too long. It takes roughly 40 minutes to travel to the adjacent Gaeltacht island of Cape Clear. Many people who live in Sherkin are involved in the arts, including writing, painting, and crafts. Artists, writers, craftspeople, musicians, photographers, beekeepers, cow farmers, mussel and oyster farmers, oceanologists, fisherman, sailors, teachers, etc. are among the people who live in Sherkin. Two pubs, a hotel, a bed and breakfast, a community centre, a coffee shop and a religious building are all present on the island. At the occasion of the 2016 Census, Sherkin it had a community of 111 individuals and is five kilometres long by 2.5 kilometres broad. The Great Irish Famine in the middle of the nineteenth century caused the population of Sherkin, which had previously been roughly 1,000, to begin to fall. Currently, the population is declining and changes between the summer and winter seasons, rising in the summer as residents return to their vacation homes and more visitors arrive. It takes roughly 40 minutes to travel to the neighbouring Gaeltacht island of Cape Clear. Many people who live in Sherkin are involved in the arts, including writing, painting, and crafts. The start of the busiest time of year coincides with the commencement of the summer vacation for students. A sea safari tour of the islands can be reserved by guests. On Sherkin, there are several archaeological relics. Overlooking Abbey shore, where the pier is located, is a Franciscan monastery locally called as the Abbey. Locals in Sherkin care for the automated lighthouse there. It was built in 1835 and is located near Barrack Point. The Promontory fort, which dates from the Celtic Iron Age i.e. 600 BC–400 AD, is another of the major heritage places. Sherkin includes amenities for camps as well. Campers and picnickers are advised to bring as little packing as possible, transport any litter back to the mainland, or recycle the cans and bottles on Sherkin Pier due to the lack of local trash disposal setup on the island. Barbecues are popular in Silver Strand. The Sherkin Regatta festival, a rowing competition often held in late July or early August, falls on the busiest day of the year. On this day, sea rowers and their fans visit the island, where there are activities for children, live music, and food vendors. On occasion, music events are also hosted.
[Information and Image Credit : Sherkin_Island, Wikipedia] [Image : A View from the highest location of Sherkin Island]
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[Wikipedia Source-Image-URL : https://en.wikipedia.org/wiki/File:From_the_highest_point_of_Sherkin_Island.jpg ]
Great Irish warpipes are the equivalent of Scottish Great Highland Bagpipe in Ireland. The bagpipes are referred to as píb mhór in a poem by Seán Neachtain, 1650–1728 A.D., which marks the first time the Gaelic name was used in Ireland. The bagpipe is first mentioned in Irish literature in 1206 A.D. or about thirty years after the Anglo-Norman conquest. A manuscript that was produced between 1484 and 1487 A.D. and contains an Irish Gaelic rendition of Fierabras has what is arguably the earliest mention of bagpipes being used in battle. The pipe is frequently utilized by the Irish, according to musician Vincenzo Galilei, the father of scientist Galileo in a 1581 volume. According to Him, to the sound of the pipe, those unconquered ferocious and warlike people march their troops and inspire one another to deeds of valour. They also use it to escort the deceased to the grave, generating sombre noises that they drive onlookers to cry. In the poem of John Derricke -- The Image of Ireland --, which was published in the same year of 1581, it was suggested that the pipes were already being used to transmit messages in battle-fields. The use of the pipes in peacetime, such as for playing of hurling teams, is documented from the late 17th century. However, it might be challenging to determine whether the pipes mentioned in an 18th-century reference are píob mhór or another instrument. Numerous accounts exist of pipers serving in Irish regiments of the British Army in the 18th century. By the 19th century, the Irish warpipes had either completely disappeared or at the very least faded into obscurity. However, a rebirth of interest in the warpipes appears to have occurred at the same time as the overall renaissance of Irish nationalism and Gaelic culture in the second half of the 19th century. Up until the pipes became widely used in both military and civilian applications, the art resumed again. There are many local bands spread out across both the Republic of Ireland and Northern Ireland, and pipe bands of the same kind as the well-known Highland version are now a normal feature of British regiments with Irish honours and the Irish Defense Forces. [Information and Image Credit : Great_Irish_warpipes, Wikipedia] [Image-Left (1) : An image of an Irish piper playing unusually huge bagpipes was copied from a woodcut from 1578. Image Right (2) : The missal painting] [Both the Files (Images) in the public domain because its copyright has expired in the United States and those countries with a copyright term of no more than the life of the author plus 100 years]
[Wikipedia Source-Image-Links ::
1. https://en.wikipedia.org/wiki/File:Derrickepiper.jpg
2. https://en.wikipedia.org/wiki/File:Rosgall.jpg ]
The scenic Dovedale valley is the theme of five paintings by Derby-based artist Joseph Wright, including Dovedale by Moonlight from 1784. English countryside and portrait painter Joseph Wright of Derby lived from 3 September 1734 to 29 August 1797. Sometimes, pairs of these paintings were created, one depicting the scene during the day and the other during the night. Wright said that he had not actually observed this scenario. Dovedale is a well-liked dale in Derbyshire, home county of Wright, as well as Staffordshire. Wright appreciated it at the period, and the National Trust has controlled it since 1924. It is now open to the numerous Peak District visitors. Dovedale gets its name from the River Dove and is 3 miles in length. Wright claimed in a letter from 1787 that he had only once seen moonlight and firelight at night, some time before he made the decision to paint this series, despite the fact that his works looked to be inspired by nature. However, his preliminary drawings demonstrate that he was combining research with happenstance. According to popular belief, drawing techniques of Alexander Cozens were used to achieve the odd inversion of light and shade in the trees in the sketch of Dovedale. Wright possessed artwork created by Cozens, who instructed his pupils in landscape painting. He instructed them to make blots on paper, which they were to utilise as the basis for their work. [Information and Image Credit : Dovedale_by_Moonlight, Wikipedia] [Image :: Dovedale by_ Moonlight] [The Work (Image) is faithful photographic reproduction of a two-dimensional, Public Domain Work of Art. The author died in 1797, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The Work (Image) is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1927. (Kindly Relate to Individual Source Image URL for More Usage Properties)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Joseph_Wright_of_Derby_-_Dovedale_by_Moonlight_-_Google_Art_Project.jpg ] #Art
On May 9, 1131, Walter de Clare, Lord of Chepstow, erected Tintern Abbey. Upon the Welsh side of the River Wye, that at this point separates Monmouthshire, Wales, from Gloucestershire, England, it is located close to the Monmouthshire village of Tintern. Following the Monasteries being dissolved in the sixteenth century, the abbey went into ruins. Since the eighteenth century, poems and paintings have honoured its remains. Cadw took over control of the management of the site in 1984. Approximately 70,000 individuals per year go to Tintern Abbey. The legend of Tewdrig, King of Glywysing, who withdrew as a hermit above the river at Tintern is documented by the Monmouthshire author Fred Hando. He later reappeared to command the army of his son in the battle of Pont-y-Saeson, where they defeated the Saxons. It was only the second Cistercian establishment in Britain and the first in Wales after the Waverley Abbey. With the construction of the inaugural wireworks by the Company of Mineral and Battery Works in 1568 and the later extension of factories and furnaces along the Angidy valley, the nearby area underwent industrialization after the collapse of the Abbey. As a result, there was some pollution at the Abbey site and local labourers resided inside the ruinous structures. Tintern Abbey was acquired by the Crown from the Duke of Beaufort in 1901 for £15,000, and the location was designated as a significant national historic site. The eighteenth century development of tourism had resulted in some repairs being made to the remains, but it was not until recently that archaeological inquiry started and the Abbey underwent professional maintenance and repairs. The Office of Works was given control of the ruins in 1914 and they made significant repairmen of the structures and a section of rebuilding! [Information and Image Credit :: Tintern_Abbey, Wikipedia] [Image: Tintern Abbey] [Image Availed Under Creative Commons Attribution-Share Alike 3.0 Unported ; Image-Author Wikipedia : Saffron Blaze (Please Relate to Individual Source Image URL for More Usage Properties) ] [License-Link: https://creativecommons.org/licenses/by-sa/3.0/deed.en ] [Source Image-URL : https://en.wikipedia.org/wiki/File:Tintern_Abbey_and_Courtyard.jpg ] #Architecture
Irish landscape painter George Barret Sr. RA , c. 1730 – 29 May 1784, is most known for his oil paintings, though he also occasionally created watercolours. He moved to London from Ireland in 1762 and quickly established himself as a notable artist of the day. In order to complete assignments for his clients, Barrett seems to have journeyed widely in England, visiting places like the Lake District and the Isle of Wight as well as Wales and Scotland. His asthma led him to relocate in 1772 to Westbourne Green, which at the time was a rural community west of Paddington. When he displayed his work at the Society of Artists of Great Britain, he was able to win the support of many eminent art patrons. In order to form the Royal Academy, Barrett and other influential members left the Society in 1768. He exhibited there until 1782. Edmund Burke, who had been a friend of his while attending Trinity College, Dublin, assisted him in 1782. On advice of Burke , he was hired as master painter of Chelsea Hospital, a position he kept until his passing in 1784. Despite the fact that he made a sizable fortune from his paintings, he has been dubbed — feckless --with money. His widow and children were left penniless after his passing, but the Royal Academy gave her a stipend of thirty pounds per year. [Information and Image Credit : George_Barret_Sr. ; Wikipedia] [Image : Powerscourt Waterfall by George Barret c. 1755] [The work (Image) faithful photographic reproduction of a two-dimensional, public domain work of art. The work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The work is also in the Public Domain in the United States; (Please Relate to Individual Source Image URL for More Usage Properties)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Powerscourt_waterfall_2.png ] #Art
William Wordsworth wrote a poem titled Lines Written a Few Miles above Tintern Abbey. Wordsworth created it after taking his sister on a sightseeing walking tour of this region of the Welsh Borders. His fundamental perspective is outlined in the account of his interactions with the landscape along the banks of the River Wye. There has been much discussion about why the poem downplays signs of human touch in the landscape and how the poem fits into the loco-descriptive genre from the eighteenth century. The own history of the poet Wordsworth served as the inspiration of the poem. In August 1793, when he was 23 years old and unhappy, he had already made a trip to the area. Since then, he has grown up and started a significant poetic friendship with Samuel Taylor Coleridge. Wordsworth claimed to have written the entire poem fully in his mind, starting it as soon as he left Tintern and finishing it mentally shortly before reaching Bristol, when he first started writing down lines. He was so happy with what he had just written that, even though the Lyrical Ballads the two companions had been collaborating on were already published at the time, he had it included as the ending poem at the last minute. Most academics concur that it is appropriate because the poem epitomises first significant creative period of Wordsworth and foreshadows much of the characteristically Wordsworthian writing that will come later. The poem is composed of verse paragraphs instead of stanzas and is constructed in tightly - knit decasyllabic blank verse. The poem is difficult to classify because it combines parts of an ode and a theatrical monologue. The apostrophe at the opening of the poem makes it resemble a landscape poem from the eighteenth century, but it is now generally accepted that the conversation poetry, which is a natural progression of the loco-descriptive, is the best nomination for the composition. [Information and Image Credit : Lines_Written_a_Few_Miles_above_Tintern_Abbey, Wikipedia] [Image : The Abbey and the upper reaches of the Wye, a painting by William Havell, 1804] [The work (Image) faithful photographic reproduction of a two-dimensional, public domain work of art. The work (Image) is in the public domain in its country of origin and other countries and areas where the copyright term is the life of author plus 100 years or fewer. The work is also in the Public Domain in the United States; (Please Relate to Individual Source Image URL for More Usage Properties)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Tintern-abbey-by-william-havell.jpg ] #Poet
Similar to the Knights of Western Europe, Bogatyr is the equivalent mythical hero of the mediaeval East Slavs. According to the Brockhaus and Efron Encyclopedic Dictionary, the Sanskrit term - Baghadhara is the source of the word Bogatyr. The Indo-Iranian term Bhaga, which means God or Lord, is perhaps the initial constituent of the word. Another theory links the word to the Turkish-Mongolian word Baghatur, which means Hero. Bogatyr chiefly appears in the epic poem Bylinas by the Kievan Rus. They were historically born as members of the prestigious Druzhina warrior order under King Vladimir the Great, the Grand Prince of Kiev from 980 to 1015. According to legend, Bogatyr was a superb warrior with courage, gallantry and power. They are renowned for having a loud voice and for wanting to defend Russia against both its foes outside and their own religious ideals. The word Bogatyr in contemporary Russian refers to a valiant hero, an athlete or a physically powerful man. The epic poems are typically separated into three collections: the mythical and ancient legends, which were gathered from eras before Kiev-Rus was created and feature magic and the supernatural. The following is from the Kievan cycle, which contained the most Bogatyr tales, then is from the Novgorod cycle. Stories about these warriors were extensively featured in numerous epic poems of Kievan Rus i.e. the Bylinas, as well as multiple chronicles, such as the Galician-Volhynian Chronicle from the thirteenth century. While certain Bogatyrs, like the enormous Svyatogor, are purportedly mythical creations descended from Slavic paganism while other Bogatyrs are assumed to be historical individuals. Numerous authors and artists in Russian literature and art have been influenced by Bogatyrs and their noble stories, including Victor Vasnetsov, Andrei Ryabushkin as well as Alexander Pushkin, the author of the legendary fairy-lore poem Ruslan and Ludmila from 1820. [Information and Image Credit: Bogatyr, Wikipedia] [Image: In 1898 painting — Bogatyrs by Victor Vasnetsov , Three of the Most Well-Known Bogatyrs—Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich—are depicted together.] [The Work (Image) is faithful photographic reproduction of a two-dimensional, Public Domain Work of Art. The author died in 1926, so this work is in the Public Domain in its country of origin and other countries and areas where the copyright term is the life of Author plus 95 years or fewer. The work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1927; (Kindly Relate to Individual Source Image URL for More Usage Properties)] [Source Image URL :
https://en.wikipedia.org/wiki/File:Viktor_Vasnetsov_-_%D0%91%D0%BE%D0%B3%D0%B0%D1%82%D1%8B%D1%80%D0%B8_-_Google_Art_Project.jpg ] #Mythology
One of the finest artists of sea-paintings was a Russian Romantic painter named Ivan Konstantinovich Aivazovsky, who lived from 29 July, 1817 to 2 May, 1900. He was baptised as Hovhannes Aivazian and was primarily centred in the Black Sea city of Feodosia in Crimea, where he was born into an Armenian family. Aivazovsky came to Europe after receiving his studies at the Imperial Academy of Arts in Saint Petersburg, and he spent a brief period of time there in the early 1840s. When he eventually went back to Russia, he was given the position of chief painter of the Russian Navy. Aivazovsky frequently attended military exercises and had deep contacts to the military and political elite of Russian Empire. He had state sponsorship and enjoyed popularity during his lifetime. In Russia, the expression — Worthy of Aivazovskys Brush — made popular by Anton Chekhov, was used to describe something exquisite. In the twenty-first century, Russia still gives him a lot of fame. Aivazovsky, one of the most well-known Russian artists of his period, was well-liked outside of the Russian Empire. He held a lot of solo shows in the US and Europe. He produced almost 6,000 paintings during the course of his nearly 60-year career, ranking him among the most productive artists of his day. Although he painted seascapes the vast majority of the time, he also frequently painted combat scenes, portraits and also topics related to Armenia. The majority of the works of Aivazovsky are preserved in public and private collections in Russia, Ukraine, Armenia, and Turkey. [Information and Image Credit : Ivan_Aivazovsky , Wikipedia] [Image: The Ninth Wave (1850, Russian Museum, Saint Petersburg) is considered the most famous work of Ivan Konstantinovich Aivazovsky.] [Image Availed Under Public Domain Work (Please Relate to Individual Image URL for More Usage Property)] [Source-Image-Source-URL :
https://en.wikipedia.org/wiki/File:Hovhannes_Aivazovsky_-_The_Ninth_Wave_-_Google_Art_Project.jpg ] #Art
The Wedding at Cana (1563) and The Feast in the House of Levi (1573), two extraordinarily huge historical paintings of religion and mythology are remarkable examples of work by the Italian Renaissance painter Paolo Caliari (1528–19 April 1588) based in Venice . Also known as Paolo Veronese, he was a master of colour and after experimenting briefly with Mannerism, he eventually adopted naturalist painting approach of Titian. [Image : The Wedding at Cana, 1562–1563. Louvre] [Information and Image Credit : Paolo_Veronese, Wikipedia] [Image Availed Under Public Domain Work of Art (Please Relate to Individual Image URLs for More Usage Property)] [Source Image URL:
https://en.wikipedia.org/wiki/File:Paolo_Veronese_008.jpg ] #Art
From the Republic of Venice, Giovanni Battista Tiepolo (March 5, 1696 – March 27, 1770) was noted for his painting in the Rococo style. He was an influential figure in the 18th-century Venetian school and an Italian painter and printmaker. He was a brilliant artist who also produced work in Germany and Spain in addition to Italy. [Image : The Banquet of Cleopatra - by Giambattista Tiepolo] [Information and Image Credit : Giovanni_Battista_Tiepolo, Wikipedia] [Image Availed Under Public Domain Work of Art (Please Relate to Individual Image URLs for More Usage Property)] [Source Image URL:
https://en.wikipedia.org/wiki/File:Giambattista_Tiepolo_-_The_Banquet_of_Cleopatra_-_Google_Art_Project.jpg ] #Art
Russian painter Fyodor Yakovlevich Alekseyev born in Saint Petersburg from around 1753 to 1755 and died there on November 23, 1824. Because of his expert vedute, he was frequently referred to by his peers as the Russian Canaletto. He was the son of the keeper of the Imperial Academy of Arts, and after attending the garrison school for a number of years, his father petitioned for his admission, which occurred in 1764. He enrolled in a decorative sculpture class in 1767 and then studied picturesque painting with Antonio Peresinotti. He received a scholarship to live in Venice from 1773 to 1777, when he extended his training as a theatre performer. However, he did not find this appealing and devoted most of his time to drawing landscapes and imitating the works of the masters. After drawing the ire of the administrators at the Academy, he was forced to work as a designer for the Imperial Theatres upon his return until 1786 and was not permitted to pursue his academic interests. Unfazed, he persisted in painting anything he wished and gradually gained some acclaim. He was given the title of Academician for his — View of the Palace Embankment from the Fortress" — in 1794. Tsar Paul I gave him the task of drawing up a vedute of streets of Moscow and buildings in 1800. He began teaching at the Academy in 1803, but he also travelled widely, stopping in Kherson, Mykolaiv, Bakhchysarai, Oryol, and other southern cities that Catherine the Great had visited. There, he created watercolours and plein air studies of the surrounding regions. He created a number of pieces in 1810 that feature Saint Petersburg. His prominence gradually waned in his latter years, and he passed away in economic hardship, leaving behind a sizable family. The Academy covered the cost of his funeral. [Image: Red Square in Moscow (1801) by Fedor Alekseev] [Information and Image Credit : Fyodor_Alekseyev, Wikipedia] [Image Availed Under Public Domain Work of Art (Please Relate to Individual Image URLs for More Usage Property)] [Source Image URL:
https://en.wikipedia.org/wiki/File:Red_Square_in_Moscow_(1801)_by_Fedor_Alekseev.jpg ]
The period of Romanesque art in Europe was from 10th – 12th C.E. before the Rise of Gothic Art. The terminology is a 19th Century coinage by Art-Historians, particularly for Romanesque Architecture, considering the basic characteristic similarities with Architectural Styles of Rome. The similarities were particular in round-shaped arches, tunnel vaults, exedra and foliage ornamentation. But the Romanesque style also developed many distinct variations. Though the architectural style of late antiquity continued in France, Spain and Italy, it was Romanesque Art which found wide-spread acceptance in whole Catholic Europe. While paintings of Romanesque art had drawn inspiration from Byzantine art, the Insular-Art of the British Islands contributed to its anti-classical features. Exhilarating styles were continued to be practiced in both painting and sculpture outside the sphere of Romanesque architecture and had influence of Byzantine theme of iconography. Stained glasses, illuminated-manuscripts and wooden-crucifix (a German innovation of this period) showed originalities. As Europe grew more prosperous during this era, high quality of art was no longer confined to some royal courts and selected group of monasteries. It blossomed inside small churches in cities, villages as well as those on pilgrimage routes. Romanesque sculpture transpired into areas of metalwork, enamels and ivories. Figurative sculpture and architectural relief work is a trademark of late-Romanesque period and mostly biblical in subject matter. Romanesque painting included Wall-Painting and Illuminated Manuscripts and other visual arts included Embroidery (Tapestry) and Stained Glasses. [Info and Image Credit : Romanesque_art, Wikipedia ; Image License Creative Commons Attribution-Share Alike 4.0 International and 3.0 Unported 1. https://en.wikipedia.org/wiki/File:Leon_(San_Isidoro,_pante%C3%B3n).jpg 2. https://en.wikipedia.org/wiki/File:Santiago_Catedral_P%C3%B3rtico_da_gloria_GDFL6.JPG ]
Gothic Art was Medieval form of Art chiefly born out of Northern France and had its origin in Romanesque Art of 12th Century. It was facilitated by simultaneous evolution of Gothic Architecture and then had its spread all across West, North, Central and Southern Europe. However its impact in Italy was relatively less were classical styles remained mainstream. Gothic art had its birth in Île-de-France, France at the Abbey Church of St Denis. This form of art quickly grew out in to architecture and sculpture. It impacted both individual and structural size as well as art of textiles and paintings. Religious orders like chiefly the Cistercians and Carthusians helped in promoting and disseminating the Gothic style across Europe. Painting as a different style of Gothic Art developed some time after gothic architecture and sculpture had developed. Gothic painting was most observable in following medium namely mural paintings, illuminated manuscripts, panel-paintings and stained glasses. Etymologically the word Gothic was rather used negatively as another term for the word Barbaric. The critics of Gothic art considered it as rather crude and not refined enough compared to the aestheticism of Classical Art. Renaissance authors even considered to some degree the Sack of Rome by the Gothic tribes as the triggering point for the destruction of the Classical world and along with all values and merits held with it. During early renaissance period, Italian architects and authors even considered the Gothic art trickling down the Alps from the north art in analogy to the coarse invasion of the Barbarians of Rome and similar opposition to the Classical art revival. [Image and Info Source: Wikipedia, Gothic_Art ; Images availed Under Creative Commons Attribution-Share Alike 4.0 International and 3.0 Unported ] [1: https://en.wikipedia.org/wiki/File:Torun_SS_Johns_Mary_Magdalene.jpg 2: https://en.wikipedia.org/wiki/File:Sainte_Chapelle_Interior_Stained_Glass.jpg ]
Gothi or Goði was a politically and socially important position in the Icelandic Commonwealth. The term originally had a religious meaning and referred to pagan leaders responsible for religious structure and general festivals, but the title is predominantly secular political title from medieval Iceland. The word comes from goð, which means "God". In Scandinavia, there are proofs of survival in the Proto-Norse-form "gudija" from the Norwegian "Nordhuglo" runestone and in the later Old-Norse form "guþi" from three Danish runestones. Since the pagan era of mainland Scandinavia, the only source of the title has been Runestone. The Norwegian Nordhuglo stone, circa 400 AD, seems to use the Old Norse term "gandr" and similar words to contrast the title with magic. The "Gravendrup" Stone from the early 10th century uses terms to describe local officials associated with the religious building Vé (Wēoh -- A type of shrine). In doing so, it assigns titles to the secular and religious upper classes. In the early 1970s, the word "goði" was adopted by Iceland's new pagan organization Ásatrúarfélagið. (Credit: Gothi, Wikipedia) [Image:: 1. A depiction of a goði leading the people in sacrificing to Thor in this painting by J. L. Lund 2. The front of the Glavendrup stone]
Bogatyr is the legendary hero counterparts of the medieval East Slavs, resembling the Knights of Western Europe. A suggested in the Brockhaus and Efron Encyclopedic Dictionary, the word "Bogatyr" is derived from Sanskrit word "Baghadhara". The word is also believed to be derived from the Turkish-Mongolian word "Baghatur," which means "Hero". Bogatyr appears primarily in Rus` epic poems—"Bylinas". Historically, they were born as part of the elite warrior "Druzhina" during the reign of King Vladimir Vladimir the Great (Grand Prince of Kiev from 980 to 1015). Tradition describes Bogatyr as a warrior of immeasurable strength, courage and chivalry. They are famous for having a strong voice, with a patriotic and religious desire to protect Russia from foreign enemies as well as their religious ideologies. In modern Russian, the word bogatyr means a brave hero, an athlete, or a physically strong man. The epic poems are usually divided into three collections: the mythical and older stories that includes magic and the supernatural and were collected from times before Kiev-Rus was founded. The next comes from the Kievan cycle, which included the largest number of Bogatyr stories, followed by those from the Novgorod cycle (Info-Credit: Bogatyr, Wikipedia) [Image:: 1. Three of the most famous bogatyrs, Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich, appear together in Victor Vasnetsov's 1898 painting Bogatyrs. 2. Knight at the Crossroads, Viktor Vasnetsov (1882)]
[Image:: 1and 2 -- Paintings by the Khotanese artist Yuchi Yiseng or his father Yuchi Bazhina Tang dynasty (618-907 AD) 1: painting of an Indian deity on the obverse of a painted panel, most likely depicting Shiva 2: painting of a Persian deity on the reverse of a painted panel, probably depicting the legendary hero Rustam. 3. Kingdom of Khotan as of 1001 AD]
Idylle (Idylls) 1884-- Gustav Klimt (July 14, 1862 – February 6, 1918). He was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d-art. The primary subject of Klimt was the female body, and his works are marked by a frank eroticism. (Credit: Gustav_Klimt, Wikipedia) [Image-Link: https://en.wikipedia.org/wiki/File:Idylle_(Idylls).jpg ]
Farmers of Flagey on the Return From the Market, 1850, Museum of Art, Besançon -- Jean Désiré Gustave Courbet (10 June 1819 – 31 December 1877) was a French painter who led the Realism movement in 19th-century French painting. (Credit: Gustave_Courbet, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Gustave_Courbet_002.jpg )
The Slave Market is a painting first exhibited at the Paris Salon of 1886 by the French artist Gustave Boulanger, who specialized in classical and Orientalist genre scenes. Its title in the Salon catalogue was Un Maquignon desclaves à Rome (A Slave Dealer in Rome), but as early as 1888 it was called Vente descalves (Sale of Slaves) in the French press, and in English it has become known as The Slave Market. (Credit: The_Slave_Market_(Boulanger_painting), Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Boulanger-gustave-clarence-rudolphe-french-1824-1888-the-slave-market.png )
Mistress and Maid (Dutch: Dame en dienstbode) is an oil-on-canvas painting produced by Johannes Vermeer c. 1667. It portrays two women, a mistress and her maid, as they look over the love letter of mistress. The painting displays preference of Vermeer for yellow and blue, female models, and domestic scenes. It is now in the Frick Collection in New York City. (Credit: Mistress_and_Maid, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Vermeer_Lady_Maidservant_Holding_Letter.jpg )
Winter (1905) -- Oleksandr Oleksandrovych Murashko, also known as Alexander Murashko and Aleksandr Murashko (August 26 or September 7, 1875 – June 14, 1919). He was a Ukrainian painter. Murashko was born in Kyiv. His stepfather, Oleksandr Ivanovych Murashko, had an icon-painting workshop and worked on the interior of St Volodymyr's Cathedral. (Credit : Oleksandr_Murashko, Wikipedia)
The children of Granville Leveson-Gower, 1st Marquess of Stafford, 1776–7 -- George Romney (15 December 1734 – 15 November 1802). He was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson. (Credit: George_Romney_(painter) , Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Granville_Leveson-Gower%C2%B4s_children.jpg ) #Art#ArtWork
Rooftops, View from the Atelier The Hague, 1882 -- Vincent Willem van Gogh (30 March 1853 – 29 July 1890). He was a Dutch Post-Impressionist painter who posthumously became one of the most famous and influential figures in Western art history. In a decade, he created about 2,100 artworks, including around 860 oil paintings, most of which date from the last two years of his life. (Credit: Vincent_van_Gogh , Wikipedia) (Link : https://en.wikipedia.org/wiki/File:Vincent_Willem_van_Gogh_016.jpg ) #Art#ArtWork
Fishermen at Sea(1796) -- Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851), was known in his time as William Turner. He was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings. (Credit: J._M._W._Turner, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Joseph_Mallord_William_Turner_-_Fishermen_at_Sea_-_Google_Art_Project.jpg ) #Art#ArtWork
Vercingetorix throws down his arms at the feet of Julius Caesar, painting by Lionel Royer. Musée Crozatier (December 25, 1852 – 30 June 1926), Le Puy-en-Velay, France. Lionel was most famous for painting large scenes of the life of Joan of Arc in the Basilica of Bois-Chenu in Domrémy. (Credit: Julius_Caesar, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Siege-alesia-vercingetorix-jules-cesar.jpg ) #Art#ArtWork
Whistlejacket -- by George Stubbs (25 August 1724 – 10 July 1806). He was an English painter, best known for his paintings of horses. Self-trained, Stubbs learnt his skills independently from other great artists of the eighteenth century such as Reynolds or Gainsborough. (Credit: George_Stubbs, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Whistlejacket_by_George_Stubbs_edit.jpg ) #Art#ArtWork
The Kongouro from New Holland (Kangaroo) -- by George Stubbs (25 August 1724 – 10 July 1806). He was an English painter, best known for his paintings of horses. Self-trained, Stubbs learnt his skills independently from other great artists of the eighteenth century such as Reynolds or Gainsborough. (Credit: George_Stubbs, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:The_Kongouro_from_New_Holland_(Kangaroo)_NMM_ZBA5754_(cropped).jpg ) #Art#ArtWork
Two Leopards -- by George Stubbs (25 August 1724 – 10 July 1806). He was an English painter, best known for his paintings of horses. Self-trained, Stubbs learnt his skills independently from other great artists of the eighteenth century such as Reynolds or Gainsborough. (Credit: George_Stubbs, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Two_Leopards_by_George_Stubbs,_c._1776.jpg ) #Art#ArtWork
Sealing the Letter -- by Jean-Baptiste-Siméon Chardin (November 2, 1699 – December 6, 1779). He was an 18th-century French painter. He is considered a master of still life, and is also noted for his genre paintings which depict kitchen maids, children, and domestic activities. Carefully balanced composition, soft diffusion of light, and granular impasto characterize his work. (Credit: Jean-Baptiste-Siméon_Chardin, Wikipedia) (Link: https://en.wikipedia.org/wiki/File:Jean_Sim%C3%A9on_Chardin_-_Sealing_the_Letter_-_WGA04745.jpg ) #Art#ArtWork
Madhubani Art (or Mithila painting) is a style of Indian painting, practiced in the Mithila region of India and Nepal. It was named after Madhubani District of Bihar, India which is where it is originated. This painting is done with various tools, such as fingers, twigs, brushes, nib-pens, and matchsticks and using natural dyes and pigments. It is characterised by its eye-catching geometrical patterns. There is ritual content for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja. Madhubani painting (Mithila painting) was traditionally created by the women of various communities in the Mithila region of the Indian subcontinent. It originated from Madhubani district of the Mithila region of Bihar. Madhubani is also a major export center of these paintings. This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments that led to the term -- Madhubani Art being used alongside -- Mithila Painting. The paintings were traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas. Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Thus, Madhubani painting has received GI (Geographical Indication) status. Madhubani paintings use two-dimensional imagery, and the colors used are derived from plants. Ochre, Lampblack and Red are used for reddish-brown and black, respectively. (Credit: Madhubani_art ) #Art#ArtWork
Kushano-Sasanian Kingdom or Indo-Sasanians were a branch of the Sasanian-Persians who established their rule in Bactria during the 3rd and 4th centuries CE at the expense of the declining Kushans. They captured the provinces of Sogdiana, Bactria and Gandhara from the Kushans in 225 CE. The Sasanians established governors for the Sasanian Empire, who minted their own coinage and took the title of Kushanshas, i.e. --Kings of the Kushans. They are sometimes considered as forming a sub-kingdom inside the Sasanian Empire. The Kushano-Sassanids created an extensive coinage with legend in Brahmi, Pahlavi or Bactrian, sometimes inspired from Kushan coinage, and sometimes more clearly Sassanid.
The obverse of the coin usually depicts the ruler with elaborate headdress and on the reverse either a Zoroastrian fire altar, or Shiva with the bull Nandi. Coins depicting Shiva and the Nandi bull have been discovered, indicating a strong influence of Shaivite Hinduism. The prophet Mani (210–276 CE), founder of Manichaeism, followed the Sassanids' expansion to the east, which exposed him to the thriving Buddhist culture of Gandhara. He is said to have visited Bamiyan, where several religious paintings are attributed to him, and is believed to have lived and taught for some time. He is also related to have sailed to the Indus valley area in 240 or 241 AD. On that occasion, various Buddhist influences seem to have permeated Manichaeism: "Buddhist influences were significant in the formation of Mani's religious thought. The transmigration of souls became a Manichaean belief, and the quadripartite structure of the Manichaean community, divided between male and female monks (the 'elect') and lay follower (the 'hearers') who supported them, appears to be based on that of the Buddhist sangha. (Credit: Kushano-Sasanian Kingdom , Wikipedia) [Images: 1. Coins With Shiva with bull Nandi, in Kushan style 2. Kushano-Sasanian Kingdom, 3. Kushano-Sasanian ruler Hormizd I Kushanshah]
Rococo less commonly Roccoco or Late Baroque, is an exceptionally ornamental and theatrical style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colors, sculpted molding to create surprise and the illusion of motion and drama. It is often described as the final expression of the Baroque movement. Rococo originated in Paris in the early 18th century but was soon adopted throughout France and later in other countries, principally Germany and Austria. It is characterized by lightness, elegance, and an exuberant use of curving natural forms in ornamentation. The Rococo style began in France in the 1730s as a reaction against the more formal and geometric Louis XIV style. It was known as the "style Rocaille", or "Rocaille style". It also came to influence the other arts, particularly sculpture, furniture, silverware, glassware, painting, music, and theatre. Although originally a secular style primarily used for interiors of private residences, the Rococo had a spiritual aspect to it which led to its widespread use in church interiors, particularly in Central Europe, Portugal, and South America. (Credit: Rococo, Wikipeia) (Credit: Rococo, Britannica) (Link: Image Left: Ballroom ceiling of the Ca Rezzonico in Venice with illusionistic quadratura painting by Giovanni Battista Crosato (1753) https://en.wikipedia.org/wiki/File:Kaisersaal_W%C3%BCrzburg.jpg ) (Image Right: Integrated rococo carving, stucco and fresco at Zwiefalten Abbey (1739–45) https://en.wikipedia.org/wiki/File:Zwiefalten_28_04_2011_23.jpg )
Princess von Esterhazy as Ariadne, 1793 -by
Élisabeth Louise Vigée Le Brun (16 April 1755 – 30 March 1842). She was also known as Madame Le Brun, was a French portrait painter in the late 18th century. Her artistic style is generally considered part of the aftermath of Rococo with elements of an adopted Neoclassical style. Vigée Le Brun created 660 portraits and 200 landscapes Vigée Le Brun created a name for herself in Ancien Régime society by serving as the portrait painter to Marie Antoinette, the Last Queen of France. She enjoyed the patronage of European aristocrats, actors, and writers, and was elected to art academies in ten cities In addition to many works in private collections, her paintings are owned by major museums, such as the Louvre Paris, Uffizi Florence, Hermitage Museum Saint Petersburg, National Gallery in London, Metropolitan Museum of Art in New York and many other collections in continental Europe and the United States. (Credit: Élisabeth_Vigée_Le_Brun, Wikipedia) (Image-Link: https://en.wikipedia.org/wiki/File:Portrait_of_Princess_Maria_Josefa_Hermenegilde_von_Esterhazy_(1793)_Le_Brun.jpg )
A Elegant Impression of Queen of Emperor Asoka, Posing in front of the Railings of the Buddhist monument at Sanchi, believed to have been build during the reign of her husband Emperor Asoka Himself. -- by Abanindranath Tagore (1871-1951) The Print is based on an original painting held in the Royal Collection at Windsor Castle. #Art#ArtWork#Paintings#Painting
Bharat Mata (Mother India) -- is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first created by Bankim Chandra Chatterjee in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted during with Swadesh ideals during the larger Indian Independence movement. (Info-Credit: Bharat Mata, Wikipedia) (Image-Source: https://en.wikipedia.org/wiki/File:Bharat_Mata_by_Abanindranath_Tagore.jpg ) #Art#ArtWork
Bharat Mata -- is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first created by Bankim Chandra Chatterjee in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted during with Swadesh ideals during the larger Indian Independence movement. (Info-Credit: Bharat Mata, Wikipedia) (Image-Source: https://en.wikipedia.org/wiki/File:Bharat_Mata_by_Abanindranath_Tagore.jpg ) #Art#ArtWork
Viktor Zaretsky (1925-1990) is often called the Ukrainian Gustav Klimt. In fact, the influence of Klimt in the artworks of this Ukrainian artist is quite obvious. However, this does not mean that he just copied the works of the Austrian painter. Zaretsky developed his own artistic language, which made his paintings unique. (Credit: Daily Art, Facebook) (Source: https://www.facebook.com/DailyArtApp/photos/a.723076214474769/4971382952977386/ ) #Art#ArtWork#Artists
Paula Becker-Modersohn's portrait painting of Rainer Maria Rilke . Paula Modersohn-Becker (8 February 1876 – 20 November 1907) was a German painter and one of the most important representatives of early expressionism. Her brief career was cut short when she died from postpartum embolism at the age of 31. She is recognized as the first known female painter to paint nude self-portraits. She was an important member of the artistic movement of modernism at the start of the twentieth century. (Credit: Debabrata Chakrabarti, Time Pesent and Time Past, Facebook)
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