Podcasts about adriaen

The spooky thriller House of Spoils on Amazon Prime is about an ambitious chef, Ana (Ariana DeBose) who follows her dream to open a restaurant on a remote estate in the woods. She quickly realizes it's haunted by the vengeful spirit of the previous owner. As Ana battles stress, self-doubt, a skeptical investor, and kitchen chaos, the ghost's sinister presence threatens to sabotage her every step. When cinematographer Eric Lin met with directors Bridget Savage Cole and Danielle Krudy (Blow The Man Down), they presented him with several inspirational references by surrealist painter Leonor Fini and Dutch painter Adriaen van Utrecht. Both artists captured the unsettling feeling of eerie decay while being surrounded by the natural world. Nature, rot and its influence on bodies became the movie's core aesthetic. Films like Black Swan (psychological horror), The Shining (single, oppressive location) and Phantom Thread (artistic obsession) also served as inspiration. Eric embraced the use of zoom lenses in the film. “Zooms are super psychological and we tried to find ways that we would sneak them in, because it has this very unsettling feel,” he says. Because Ana is a chef, food also played a major role in the film. “I was interested in trying to find a way to represent the colors that had a feeling of decay- almost a mushroom, moldy look,” Eric explains. “Because what comes from that decay is life, right? It's like creativity is born through all this death and decay. And so I wanted the colors of the film to represent that feeling.” He created a LUT where the vibrant colors stood out while the browns and greens stayed dull and earthy. The kitchen was really being used to cook the dishes, and a food stylist helped to plate all the ingredients. Second unit would then shoot the dishes as they were presented to the table. House of Spoils was shot on location at an estate in Budapest. The crew built a fully functional kitchen set, allowing for meticulously planned lighting. The garden outside the kitchen was also created by the production design team and the greens department. The natural fog blanketing the estate's garden provided the perfect eerie atmosphere, eliminating the need for fog machines. Eric's passion for cinematography wasn't always his career path. After studying at UC Berkeley, he switched gears to study film in grad school at NYU. He managed to land a job as an assistant editor, but cinematography was his true passion. Eric shot music videos and independent films as much as he could on the side. While shooting music videos and independent films, his dedication paid off. The short film Missing went to the Cannes Film Festival. Eric's cinematography is also in several Sundance Film Festival projects, such as The Sound of Silence, Hearts Beat Loud, and I'll Be Your Mirror (originally titled Blood). House of Spoils is currently streaming on Amazon Prime Video. Find Eric Lin: www.eric-lin.com Instagram: @holdtheframe Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Read OnlineMartha, burdened with much serving, came to him and said, “Lord, do you not care that my sister has left me by myself to do the serving? Tell her to help me.” The Lord said to her in reply, “Martha, Martha, you are anxious and worried about many things. There is need of only one thing. Mary has chosen the better part and it will not be taken from her.”  Luke 10:40–42In many ways, this statement of our Lord summarizes the most important and central message of the Gospel. We are all called to choose “the better part” every day.Jesus was close friends with Martha, Mary and Lazarus. He frequently visited their home, which was only a short distance from Jerusalem. On this occasion, when Jesus was visiting their home, one of these siblings, Mary, had placed herself at Jesus' feet, listening to Him and conversing with Him. Martha was busy with the important details of hospitality and appeared to be upset with Mary, so she confronted Jesus, asking Him to tell Mary to help her. But in so doing, she was also unknowingly trying to dissuade Mary from the most important purpose of her life.As Mary sat at the feet of Jesus, she gave us an example of the most important focus we must have in life. Though our days will be filled with many necessary duties, such as cooking, cleaning, working, entertainment, and caring for others, we must never forget that which we were made for and that which we will be doing for all eternity: adoration of our glorious God.Consider all that occupies your day. Though most of what you do may be important, do you daily take time out to adore our Lord, listen to Him and glorify Him through your prayer? We can often make time for many other important duties in life, as well as those that are not so important. We may spend hours on chores, immerse ourselves in movies, devote whole evenings to reading, fulfill our duties in the workplace, but only devote a minute or two each day, if even that, to silent prayer and adoration of our God!What would happen to your life if you chose “the better part” for a full hour every day? What if you decided that the first hour of your day would be dedicated to an imitation of Mary in the Gospel passage and that you would do nothing but adore Jesus through silent prayer and meditation? At first, you may think of the many other tasks you could be doing at that moment. You may decide that you do not have the time for extended prayer every day. But is that true? Perhaps you are actually being Martha to yourself, saying to yourself that you should do more important things with your time and that Jesus will understand if you do not spend time with Him alone in adoration and prayer every day. If that is you, then be very attentive to this Gospel passage. In many ways, Jesus deeply desires to say this about you. He wants to say of you that you have chosen the better part for an extended period of time every day and that this will not be taken from you.Reflect, today, upon that which is most important in life. Dispel excuses and temptations to simply fulfill all the other important duties of life, neglecting that which is most important. Reflect upon the simple truth that Jesus does want you to devote much time to Him every day for silent prayer and adoration. Do not give into excuses and distractions. Commit yourself to remain at the feet of Jesus, adoring Him, listening to Him and loving Him. If you do, you will find that your life is more ordered and that the time you spend in prayer bears more good fruit than every other important duty you fulfill every day.My inviting Lord, I do believe that adoration of You in silent and devout prayer is the most important duty I have to fulfill every day. May I never be deterred from adoring You every day, devoting as much time as You desire to silent and loving prayer. May I discover this gift of prayer, dear Lord, and sit at Your feet with Mary and with all the glorious saints. Jesus, I trust in You.Source of content: catholic-daily-reflections.comCopyright © 2024 My Catholic Life! Inc. All rights reserved. Used with permission via RSS feed.Featured image above: Jesus in the house of Martha and Mary By Erasmus Quellinus II and Adriaen van Utrecht, via Wikimedia Commons

Our adventure in the Netherlands continues with a quest to find the Walloons, the French-speaking religious refugees who became the first settlers of New Netherland in 1624. Their descendants would last well beyond the existence of New Amsterdam and were among the first people to become New Yorkers.But you can't tell the Walloon story without that other group of American religious settlers -- the Pilgrims who settled in Massachusetts four years earlier.All roads lead to Leiden, the university city with a history older than Amsterdam. Greg and Tom join last episode's guest Jaap Jacobs, the author of The Colony of New Netherland, to explore the birthplace of Rembrandt, the historic botanical garden and a site associated with Adriaen van der Donck (whose "patroonship," or manor, gives the city of Yonkers, New York, its name).Then they visit with Koen Kleijn, art historian and editor-in-chief of history magazine Ons Amsterdam, who takes them on a journey through Amsterdam's history -- from the innovative story of its canals to the disaster known as Tulipmania, the 1630 speculative mania that set the stage for generations of stock-market shenanigans.PLUS: A detour to Amsterdam Noord and a look at a miniature model of New Amsterdam, courtesy of the design and production team at Artitec. And while visiting Ian Kenny from the John Adams Institute, Tom and Greg come upon an old friend holding court in a fountain.PLUS: Tom sustains an injury --- from a bitterballen!

The Highlands doesn't have the terrain or conditions for the type of disaster that killed 101 people last year on the island of Maui in Hawaii. But that doesn't mean there are no risks, especially if simultaneous fires forced a mass exodus. Native Americans used sophisticated tools and strategies to shape the landscape. One of the most important was fire. Indigenous peoples set fires to open land for planting and to clear crinkly underbrush that alerted game to a hunter's presence. Burning the land returned nutrients to the soil and encouraged growth that deer, turkey and quail depended on for food. Archaeologist Lucianne Lavin has uncovered evidence of controlled burns near Albany around the year 1000 A.D. They were almost certainly used in the Highlands, as well. "Such a fire is a spectacular sight when one sails on the rivers at night while the forest is ablaze on both banks," wrote Adriaen van der Donck, an important leader in New Netherlands in the 1640s. In the past few decades, controlled burns, or prescribed fires, have become a common part of preventing wildfires such as a 1988 blaze that consumed nearly 800,000 acres in Yellowstone National Park. The argument is now widely accepted that more than a century of rigorous fire suppression has created the conditions for even worse fires to break out and spread. Erica Smithwick, director of the Earth and Environmental Systems Institute at Penn State University, who specializes in eastern U.S. wildfires, has studied the issue of controlled burns and worked with land managers, hunters and conservationists to put intentional fire back on the radar in Pennsylvania. While the practice faced some resistance, she notes that managers in the Pine Barrens region of New Jersey have been conducting controlled burns for years. As part of her pitch, she points out that controlled burns reduce tick populations. There are two problems with controlled burns, however. The first is capacity, because it takes training. New York State does some training at the Albany Pine Bush Preserve, in Minnewaska State Park and on Long Island, but not enough for fire agencies around the state to adopt the practice. Evan Thompson, the manager of the Hudson Highlands State Park Preserve, believes it would be difficult to introduce controlled burns in the park's rugged landscape, which spans some 25,000 acres on both sides of Route 9. "You can't burn everything from Garrison to Fahnestock," he says. Still, Joseph Pries, the state Department of Environmental Conservation fire ranger for Dutchess and Putnam counties, says the agency is ready to draw up plans for controlled burns for any agency or manager who wants them. The second limitation is public acceptance. Many people, thoroughly indoctrinated by decades of Smokey Bear commercials, remain skeptical of the idea that starting a fire can stop a fire. Liability is key: If a controlled burn gets out of control and destroys property (which has happened), who pays the bill? Anticipating this, in 2009, the Pennsylvania Legislature passed a law protecting public agencies and non-governmental organizations that employ trained burned bosses from lawsuits over damage. Because there are so many homes along the perimeter of the Hudson Highlands State Park Preserve, Thompson worries about a controlled burn that escapes its handlers. "It could have disastrous consequences," he says. The same thing that could make a wildfire in the Highlands so destructive - the encroachment of homes into the woods - is what makes using controlled burns to mitigate the risk so difficult. According to Smithwick, many places lack a forest management plan to sort through the intricate web of entangled species and conflicting demands that make up forest ecology. Lauren Martin, a park steward at the Hudson Highlands State Park Preserve, agrees. "Forest management is a constant give-and-take," she says. Dead trees can fuel intense fires but also shelter wildlife and would be expensive to re...

By Joyelle McSweeney

‘Stilleven, voor Adriaen Coorte' Asperges, kruisbessen, schelpen. De 17de-eeuwer Adriaen Coorte schilderde eenvoudige stillevens. Kleine doeken met een grootse diepgang. Als eerbetoon in deze aflevering muziek van Albert de Rippe, componist van stillevens met luit. Albert de Rippe Fantasie II & XXII Paul O'Dette, luit (album: Rippe; Works for lute)

The history of New York City isn't only found in its museums—it's in the names you find all over the city. This week, we talk to Rebecca Bratspies, author of Naming Gotham, about some of the remarkable people who leant their names to New York's infrastructure: Anne Hutchinson, Adriaen van der Donck, Casimir Pulaski, Tadeusz Kościuszko, William Cullen Bryant, John Jacob Astor, and more. [minor correction: Rebecca mentions Mrs. Astor's “top 200,” but meant to say “400”]

Join Ellen & special guest, ecologist and history podcaster Natalie Sabin, for a post-mortem of the dearly departed dodo. We discuss the unique traits that allowed the dodo to thrive in its island home, what went wrong for them when humans appeared, and why they left such big heavy footprints in our hearts.Listen to Across the Ages wherever you get podcasts!Follow Natalie on Twitter for more wildlife ecology, bats, nature & history!Follow Just the Zoo of Us on Facebook, Twitter, Instagram & Discord!Cover photo: "Adriaen van de Venne's 1626 depiction of a dodo he claimed to have seen" via Wikipedia

Join Ellen & special guest, ecologist and history podcaster Natalie Sabin, for a post-mortem of the dearly departed dodo. We discuss the unique traits that allowed the dodo to thrive in its island home, what went wrong for them when humans appeared, and why they left such big heavy footprints in our hearts.Listen to Across the Ages wherever you get podcasts!Follow Natalie on Twitter for more wildlife ecology, bats, nature & history!Follow Just the Zoo of Us on Facebook, Twitter, Instagram & Discord!Cover photo: "Adriaen van de Venne's 1626 depiction of a dodo he claimed to have seen" via Wikipedia

Een gesprek vanuit de NIOZ-haven op Texel, de thuishaven van de nationale onderzoeksschepen (research vessels): RV Pelagia, het grote onderzoeksschip dat de Oceanen bevaart en dat zich ten tijde van dit interview op de Noordzee bevindt, RV Navicula, het onderzoeksschip dat onderzoek doet op het Wad en in de Zeeuwse wateren en getuige de lege kade ook is uitgevaren, en RV Stern, de kleinste van de vloot, die wetenschappers afzet op - of ophaalt van zandbanken en onbewoonde eilanden, locaties bevoorraadt en voor kleinere wetenschappelijke klussen op het Wad inzetbaar is. De Stern is de enige die in de thuishaven aan de kade ligt.  https://www.nioz.nl/en/facilities/national-marine-facilities/replacement-national-marine-research-facilities (Alle drie de schepen worden vervangen), de Pelagia in de iets verdere toekomst, de Navicula volgend jaar, maar de opvolger van de Stern, de https://www.nioz.nl/en/news/first-vessel-christened-in-new-national-research-fleet (RV Adriaen Coenen), is klaar. Het nieuwe schip is genoemd naar de 16e eeuwse Scheveningse vishandelaar Adriaen Coenen, een autodidact die niet alleen vis afsloeg, maar ook tekenaar en schrijver was van het https://www.kb.nl/ontdekken-bewonderen/topstukken/visboek-adriaen-coenen (Visboeck), een rijk geïllustreerd compendium van wat er zoal in zee leeft: van haring tot monsters, tot aan de industrie die zich met de visvangst bezighoudt. In de NIOZ-haven treft interviewer Mathijs Deen de schipper van de Stern, Wim Jan Boon, die hem meeneemt aan boord van het scheepje dat bijna een halve eeuw dienst heeft gedaan, 16 meter lang, blauwe romp, witte opbouw, laag groen achterdek met stevig A-frame. Ze is aan vervanging toe, en Wim Jan Boon, telt de dagen tot het moment dat hij in haar opvolger zal binnenlopen. De RV Adriaen Coenen maakt een week na het gesprek voor het eerst de oversteek van de werf in Lauwersoog, naar haar thuishaven op Texel. https://youtu.be/ffqE33sQQAY (Video-teaser) en korte https://youtu.be/2tlCyaZaUww (video) over de duurzame RV Adriaen Coenen.

Imagine playing the same organ for 53 days in a row, 8 hours a day! De Adriaen is back at Visit Keukenhof from tomorrow, for it's 30th year as the resident organ. The instrument has just had a little releathering work to prepare it for its gruelling marathon ahead! Sjoerd Caspers has kindly done three recordings of the instrument after completion, which we play tonight. We wish the team good weather and many visitors! For more information: www.keukenhof.nl

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Amsterdam merchants send out the experienced Adriaen Block to explore the new continent and trade with its inhabitants, thus kickstarting the colonization of New Amsterdam and, ultimately, New York. Henry Hudson remains obsessed with discovering the Northern passage. On his second voyage to North America, his embattled crew resorts to mutiny. Hudson and his son come to a chilling end. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Un día como hoy, 10 de diciembre: 1538, nace Gian Battista Guarini. 1610, nace Adriaen van Ostade. 1822, nace César Frank. 1830, nace Emily Dickinson. 1908, nace Olivier Messiaen. 1475, fallece Paolo Uccello. 1618, fallece Giulio Caccini. 1882, fallece Alexander Gardner. 1896, fallece Alfred Nobel. 1936, fallece Luigi Pirandello. 1965, fallece Henry Cowell. 1978, fallece Ed Wood. Una producción de Sala Prisma Podcast. 2020

On OCTOBER 11, 1614, as a direct result of the remarkable alliances established by this one man over the past four years, the States General grants exclusive charter to the newly formed "New Netherland Company" for the express purpose of cultivating the emerging fur trade in this uncharted New World that Henry Hudson had left behind.And 406 years later, to the day, on OCTOBER 11, 2020, we are honored to tell you the story of this incredible navigator and businessman who would become the Great-Grandfather of American Trade.#historyiscool

Een 17de-eeuws bronzen beeld van 22 miljoen euro ontdekken op een binnenplaats in Oostenrijk? Dat is de droom van iedere kunstliefhebber. Conservator beeldhouwkunst Frits Scholten spreekt met Janine Abbring over dit beeld, dat door kunstkenners van veilinghuis Christie's werd ontdekt, de maker Adriaen de Vries en over hoe het Rijksmuseum op spectaculaire wijze dit topstuk wist te verwerven voor de collectie.   Wilt u meer weten? Ga naar rijksmuseum.nl/podcast 

EP108 - Tells the story of the master of emotions, the 'second Breughel"... the painter Adriaen Brouwer. Who lived in the early 17th century, shifting between Amsterdam and Antwerp. We look at his life and paintings, and his role in history.

De Gouden Eeuw wordt afgeschaft? Dat is even schrikken. Wij duiken deze aflevering nog net op tijd in de geschiedenis van de term 'Gouden Eeuw' en vragen ons af wat we kunnen concluderen uit de huidige discussie rondom deze aanduiding van de zeventiende eeuw. Ook introduceren we een nieuwe terugkerende rubriek.   Afbeelding: Bezoekers aanschouwen Scheepsmodel William Rex, Adriaen de Vriend, Adriaen Davidsen, Cornelis Moerman, 1698. (Rijksmuseum)

De Gouden Eeuw wordt afgeschaft? Dat is even schrikken. Wij duiken deze aflevering nog net op tijd in de geschiedenis van de term 'Gouden Eeuw' en vragen ons af wat we kunnen concluderen uit de huidige discussie rondom deze aanduiding van de zeventiende eeuw. Ook introduceren we een nieuwe terugkerende rubriek.   Afbeelding: Bezoekers aanschouwen Scheepsmodel William Rex, Adriaen de Vriend, Adriaen Davidsen, Cornelis Moerman, 1698. (Rijksmuseum)

  Notes: 
0 - 1.00: 
 intros
 1.00 - 9.35: 
 Gooseberry history, etymology, pairings, Egton Bridge Gooseberry and world’s biggest gooseberry, banned in the USA, Enclosures Act 
9.35 - 14.20 
Still life paintings by Dutch artist Adriaen Coorte, landscape painting by British artist Isabel Naftel, contemporary painting by Indigenous Australian artist Kerry Madawyn McCarthy 
14.20-16.30
 Intro to Jimmy’s Festival 
16.30 - 23.30
 Snippets from my food demo at Jimmy’s Festival 
23.30 - 25.11
 Closing, thanks & cheesy jingle Pics of Paintings, Festival & Recipes below: I was thrilled to be invited to do a demonstration at the 2018 Jimmy’s Festival in Ipswich at Jimmy’s Farm. At Jimmy's Farm all year round you will find a working farm, wildlife park, adventure play, shops, gardens, a restaurant, a farm shop and butchery. For Jimmy's Festival, it's all of the above and amped up some more for their annual celebration of music & food on the Farm on 21st & 22nd July, 2018! My food demo was hosted by TV Presenter Joe Hurd who did such a fabulous job all festival and Hardeep Singh Kohli who was also giving one of his brilliant food demonstrations. More on the festival in a bit, for now here are some of the images relating to the history and art of gooseberries from of the podcast. The 1658 cookbook 'The Compleat Cook, Expertly Prescribing The Most Ready Wayes, Whether Italian, Spanish Or French, For Dressing Of Flesh And Fish, Ordering Of Sauces Or Making Of Pastry’ 
compiled by ‘WM' Bryan Nellist of the Egton Bridge Gooseberry Society with his world record heaviest gooseberry won in 2009, weighing in at 35 drams or roughly 62 grams. Scale of the loss of common land English Spray of Gooseberries on a Stone Plinth, 1700 Dutch artist Adriaen Coorte (ca. 1665 – after 1707) Still Life with Asparagus, a Spray of Gooseberries, A Bowl of Strawberries and Other Fruit in Niche, 1703 Dutch artist Adriaen Coorte (ca. 1665 – after 1707)  The Old Gooseberry Garden, 1882 Isabel Naftel Gooseberries Kerry Madawyn McCarthy (1975 - present) Here are more pics from Jimmy's Festival: Gooseberry Gumbo500 g gooseberries* - topped and tailed
 1  oranges - retain the zest and juice
 2  lemon - retain the zest and juice
 250g   sugar
 100g     sultanas - roughly chopped 
100g     walnut - roughly chopped
 *all of the above can be adjusted to taste *or plums can be substituted for gooseberries Instructions 1. Put the gooseberries, citrus rinds and juices, sugar, walnuts and sultanas in a heavy pan. 2. Cook on medium-high heat for about 30 min or until the mixture is thick and the gooseberries are cooked and soft. 3. Continue simmering for another 10 minutes until the mixture is very thick. 4. Place in sterilised jars and lid. 5. Will keep for 6 months, best eaten within 3 months.

Rabbits and Hares in Art Hello Listener! Thank you for listening.  If you would like to support the podcast, and keep the lights on, you can support us whenever you use Amazon through the link below: It will not cost you anything extra, and I can not see who purchased what. Or you can become a Fluffle Supporter by donating through Patreon.com at the link below: Patreon/Hare of the Rabbit What's this Patreon? Patreon is an established online platform that allows fans to provide regular financial support to creators. Patreon was created by a musician who needed a easy way for fans to support his band. What do you need? Please support Hare of the Rabbit Podcast financially by becoming a Patron. Patrons agree to a regular contribution, starting at $1 per episode. Patreon.com takes a token amount as a small processing fee, but most of your money will go directly towards supporting the Hare of the Rabbit Podcast. You can change or stop your payments at any time. You can also support by donating through PayPal.com at the link below: Hare of the Rabbit PayPal Thank you for your support, Jeff Hittinger. Rabbits and hares are common motifs in the visual arts, with variable mythological and artistic meanings in different cultures. The rabbit as well as the hare have been associated with moon deities and may signify rebirth or resurrection. They may also be symbols of fertility or sensuality, and they appear in depictions of hunting and spring scenes in the Labours of the Months. Humans have depicted rabbits and hares for thousands of years. Rabbit-like creatures feature in 7,500-year-old rock paintings found in Baja California; they are also prevalent in ancient Egyptian paintings and are often found on Grecian urns. Many Prints, Drawings and Painting Collections contains an array of images of rabbits and hares covering many of these creatures’ natural personality traits and representing much of the symbolism that these traits have inspired throughout the history of art. Rabbits have paradoxically been used as both symbols of sexuality and virginal purity. They have been a sex symbol since antiquity. In ancient Rome rabbits were frequently depicted as the animal of Venus. Conversely the rabbit was used by artists of the Middle Ages and Renaissance as a symbol of sexual purity and was often depicted alongside the Madonna and Child. Antiquity In antiquity, the hare, because it was prized as a hunting quarry, was seen as the epitome of the hunted creature that could survive only by prolific breeding. Herodotus, Aristotle, Pliny and Claudius Aelianus all described the rabbit as one of the most fertile of animals. It thus became a symbol of vitality, sexual desire and fertility. The hare served as an attribute of Aphrodite and as a gift between lovers. In late antiquity it was used as a symbol of good luck and in connection with ancient burial traditions. Judaism In Judaism, the rabbit is considered an unclean animal, because "though it chews the cud, does not have a divided hoof." This led to derogatory statements in the Christian art of the Middle Ages, and to an ambiguous interpretation of the rabbit's symbolism. The "shafan" in Hebrew has symbolic meaning. Although rabbits were a non-kosher animal in the Bible, positive symbolic connotations were sometimes noted, as for lions and eagles. 16th century German scholar Rabbi Yosef Hayim Yerushalmi, saw the rabbits as a symbol of the Diaspora. In any case, a three hares motif was a prominent part of many Synagogues. Christian art In Early Christian art, hares appeared on reliefs, epitaphs, icons and oil lamps although their significance is not always clear. The Physiologus, an inexhaustible resource for medieval artists, states that when in danger the rabbit seeks safety by climbing high up rocky cliffs, but when running back down, because of its short front legs, it is quickly caught by its predators. Likewise, according to the teaching of St. Basil, men should seek his salvation in the rock of Christ, rather than descending to seek worldly things and falling into the hands of the devil. The negative view of the rabbit as an unclean animal, which derived from the Old Testament, always remained present for medieval artists and their patrons. Thus the rabbit can have a negative connotation of unbridled sexuality and lust or a positive meaning as a symbol of the steep path to salvation. Whether a representation of a hare in Medieval art represents man falling to his doom or striving for his eternal salvation is therefore open to interpretation, depending on context. The three hares at Paderborn Cathedral The Hasenfenster (hare windows) in Paderborn Cathedral and in the Muotathal Monastery in Switzerland, in which three hares are depicted with only three ears between them, forming a triangle, can be seen as a symbol of the Trinity, and probably go back to an old symbol for the passage of time. The three hares shown in Albrecht Dürer's woodcut, The Holy Family with the Three Hares (1497), can also be seen as a symbol of the Trinity. The idea of rabbits as a symbol of vitality, rebirth and resurrection derives from antiquity. This explains their role in connection with Easter, the resurrection of Christ. The unusual presentation in Christian iconography of a Madonna with the Infant Jesus playing with a white rabbit in Titian's Parisian painting, can thus be interpreted christologically. Together with the basket of bread and wine, a symbol of the sacrificial death of Christ, the picture may be interpreted as the resurrection of Christ after death. The phenomenon of superfetation, where embryos from different menstrual cycles are present in the uterus, results in hares and rabbits being able to give birth seemingly without having been impregnated, which caused them to be seen as symbols of virginity. Rabbits also live underground, an echo of the tomb of Christ. As a symbol of fertility, white rabbits appear on a wing of the high altar in Freiburg Minster. They are playing at the feet of two pregnant women, Mary and Elizabeth. Martin Schongauer's engraving Jesus after the Temptation (1470) shows nine (three times three) rabbits at the feet of Jesus Christ, which can be seen as a sign of extreme vitality. In contrast, the tiny squashed rabbits at the base of the columns in Jan van Eyck's Rolin Madonna symbolize "Lust", as part of a set of references in the painting to all the Seven Deadly Sins. Hunting scenes in the sacred context can be understood as the pursuit of good through evil. In the Romanesque sculpture (c. 1135) in the Königslutter imperial Cathedral, a hare pursued by a hunter symbolises the human soul seeking to escape persecution by the devil. Another painting, Hares Catch the Hunters, shows the triumph of good over evil. Alternatively, when an eagle pursues the hare, the eagle can be seen as symbolizing Christ and the hare, uncleanliness and the evil's terror in the face of the light. In Christian iconography, the hare is an attribute of Saint Martin of Tours and Saint Alberto di Siena, because legend has it that both protected hares from persecution by dogs and hunters. They are also an attribute of the patron saint of Spanish hunters, Olegarius of Barcelona. White hares and rabbits were sometimes the symbols of chastity and purity. In secular art In non-religious art of the modern era, the rabbit appears in the same context as in antiquity: as prey for the hunter, or representing spring or autumn, as well as an attribute of Venus and a symbol of physical love. In cycles of the Labours of the Months, rabbits frequently appear in the spring months. In Francesco del Cossa's painting of April in the Palazzo Schifanoia in Ferrara, Italy, Venus' children, surrounded by a flock of white rabbits, symbolize love and fertility. In Italian Renaissance and Baroque art, rabbits are depicted more often than hares. In an allegory on lust by Pisanello, a naked woman lies on a couch with a rabbit at her feet. Pinturicchio's scene of Susanna in the Bath is displayed in the Vatican's Borgia Apartment. Here, each of the two old men are accompanied by a pair of hares or rabbits, clearly indicating wanton lust. In Piero di Cosimo's painting of Venus and Mars, a cupid resting on Venus clings to a white rabbit for similar reasons. Still lifes in Dutch Golden Age painting and their Flemish equivalents often included a moralizing element which was understood by their original viewers without assistance: fish and meat can allude to religious dietary precepts, fish indicating fasting while great piles of meat indicate voluptas carnis (lusts of the flesh), especially if lovers are also depicted. Rabbits and birds, perhaps in the company of carrots and other phallic symbols, were easily understood by contemporary viewers in the same sense. As small animals with fur, hares and rabbits allowed the artist to showcase his ability in painting this difficult material. Dead hares appear in the works of the earliest painter of still life collections of foodstuffs in a kitchen setting, Frans Snyders, and remain a common feature, very often sprawling hung up by a rear leg, in the works of Jan Fyt, Adriaen van Utrecht and many other specialists in the genre. By the end of the 17th century, the grander subgenre of the hunting trophy still life appeared, now set outdoors, as though at the back door of a palace or hunting lodge. Hares (but rarely rabbits) continued to feature in the works of the Dutch and Flemish originators of the genre, and later French painters like Jean-Baptiste Oudry. From the Middle Ages until modern times, the right to hunt was a vigorously defended privilege of the ruling classes. Hunting Still lifes, often in combination with hunting equipment, adorn the rooms of baroque palaces, indicating the rank and prestige of their owners. Jan Weenix' painting shows a still life reminiscent of a trophy case with birds and small game, fine fruits, a pet dog and a pet monkey, arranged in front of a classicising garden sculpture with the figure of Hercules and an opulent palace in the background. The wealth and luxurious lifestyle of the patron or owner is clearly shown. The children's tales of the English author Beatrix Potter, illustrated by herself, include several titles featuring the badly behaved Peter Rabbit and other rabbit characters, including her first and most successful book The Tale of Peter Rabbit (1902), followed by The Tale of Benjamin Bunny (1904), and The Tale of The Flopsy Bunnies (1909). Potter's anthropomorphic clothed rabbits are probably the most familiar artistic rabbits in the English-speaking world, no doubt influenced by illustrations by John Tenniel of the White Rabbit in Lewis Carroll's book Alice's Adventures in Wonderland. Joseph Beuys, who always finds a place for a rabbit in his works, sees it as symbolizing resurrection. In the context of his action "How to Explain Pictures to a Dead Hare", he stated that the rabbit "...has a direct relationship to birth... For me, the rabbit is the symbol of incarnation. Because the rabbit shows in reality what man can only show in his thoughts. He buries himself, he buries himself in a depression. He incarnates himself in the earth, and that alone is important." Masquerade (book) (1979), written and illustrated by the artist Kit Williams, is ostensibly a children’s book, but contains elaborate clues to the location of a jewelled golden hare, also made by Williams, which he had buried at the location in England to which the clues in the book led. The hare was not found until 1982, in what later emerged as dubious circumstances. The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated. Dürer's Young Hare Young Hare by Albrecht Dürer (1502) Probably one of the most famous depictions of an animal in the history of European art is the painting Young Hare by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous Meadow or his Bird Wings. He chose to paint these in watercolor or gouache, striving for the highest possible precision and "realistic" representation. The hare pictured by Dürer probably does not have a symbolic meaning, but it does have an exceptional reception history. Reproductions of Dürer's Hare have often been a permanent component of bourgeois living rooms in Germany. The image has been printed in textbooks; published in countless reproductions; embossed in copper, wood or stone; represented three-dimensionally in plastic or plaster; encased in plexiglas; painted on ostrich eggs; printed on plastic bags; surreally distorted in Hasengiraffe ("Haregiraffe") by Martin Missfeldt; reproduced as a joke by Fluxus artists; and cast in gold; or sold cheaply in galleries and at art fairs. Young Hare by Albrecht Dürer Completed in 1502, Young Hare was painted in water colour and gouache by German artist Albrecht Dürer who was not only a painter, but also an engraver, print-maker, a theorist and a mathematician. It has been suggested that the accuracy was the result of either the artist keeping a wild hare in his workshop or he initially sketched wild hares and used a dead specimen to add the details of the fur which points in many directions. http://totallyhistory.com/young-hare/ Since early 2000, Ottmar Hörl has created several works based on Dürer's Hare, including a giant pink version. Sigmar Polke has also engaged with the hare on paper or textiles, or as part of his installations, and even in rubber band form. Dieter Roth's Köttelkarnikel ("Turd Bunny") is a copy of Dürer's Hare made from rabbit droppings, and Klaus Staeck enclosed one in a little wooden box, with a cutout hole, so that it could look out and breathe. Dürer's Hare has even inspired a depiction of the mythological Wolpertinger. Millais’ watercolour was commissioned for an illustrated edition of Poets of the Nineteenth Century to illustrate the poem ‘Love’ by Samuel Taylor Coleridge. The poem tells of a moonlit meeting between two lovers. To a contemporary reader the poem’s content would have seemed quite risqué due to a woman meeting a man so late at night flirting with him and embracing him. Despite this deliberate attempt to titillate his audience, Coleridge repeatedly emphasises the heroine Genevieve’s modesty and virginity. This cannot be easily conveyed through one pictorial scene so it is possible that Millais added the rabbit to serve at once as a reminder of Genevieve’s virginal purity whilst alluding to the more intimate, and controversial, connection between the lovers. Hares Roasting a Hunter, Virgil Solis, ca. 1530-1562. Museum no. E.878-1927. © Victoria and Albert Museum, London. This rather gruesome, darkly humorous and absurd representation of hares roasting a hunter was inspired by the popular trope of ‘the world turned upside down’, with its use of ridiculous role reversal imagery. Again this image is illustrative of the paradoxical nature of the symbolism of rabbits and hares by simultaneously alluding to the cowardice of the animal whilst also revealing the fear rabbits instilled in some cultures. Because of the hares association with cowardice, connected to the animal’s natural tendency to be fearful of predators, the imagery of the hares roasting the hunter was perhaps the most absurd the artist could think of, particularly as one would normally think of rabbits as the hunted, rather than the hunter! In addition, in Christianity, rabbits were often thought to be witches’ familiars, making people fear them. Therefore, perhaps the hares in this image could be burning the men who persecuted them. Hare in Transit, Bruce Gernand, 2004. Museum no. © Victoria and Albert Museum, London/Bruce Gernand. Rabbits and hares still feature in contemporary art practices including computer art. Based on Aesop’s Fable ‘The Tortoise and the Hare’, this work by Bruce Gernand uses the hare as a vehicle to represent the relation between the virtual and material. The hare in this case is representative of the speed of computers and computer processes. The Nine of Hares, Master P W of Cologne. Museum no.E.14-1923. © Victoria and Albert Museum, London. This round playing card adorned with hares is part of a set from around 1500. Although rabbits and hares have long been a favorite subject in studies of nature card engravers usually depicted animals and plants from model books. However, in this case, the hares have been drawn from nature. This may be why these hares are so lifelike in terms of their poses with distinct personalities and characteristics –although some are a little menacing looking – sniffing the ground, standing to attention and looking around with curiosity. One thing that has become clear to me through my investigation into the symbolism of rabbits is its complexity which is fraught with paradoxes. https://en.wikipedia.org/wiki/Rabbits_and_hares_in_art https://commons.wikimedia.org/wiki/File:Brooklyn_Museum_-_Rabbit_Beneath_New_Year's_Pine.jpg http://www.vam.ac.uk/blog/factory-presents/merry-march-hares-and-rabbits http://www.vam.ac.uk/blog/factory-presents/merry-march-hares-and-rabbits http://www.metmuseum.org/toah/works-of-art/1978.412.118 http://www.jean-stote-fine-art.co.uk/ http://www.nolonstacey.com/limited-edition-prints/wide-eyed-hare https://www.pinterest.com/pin/51580358205744671/ http://caroleeclark.wordpress.com/2012/12/01/tilly-expressionistic-painting-of-a-belgain-hare/ http://fineartamerica.com/featured/moonlite-and-hare-amanda-clark.html http://www.think-differently-about-sheep.com/rabbits_and_hares_in_art.htm Elephant and Hare [Maasai] http://www.johntyman.com/africa/folk/ There was once a herd of elephants who went to gather honey to take to their in-laws. As they were walking along, they came upon Hare who was just about to cross the river. She said to one of them: "Father, please help me get across the river." The elephant agreed to this request and said to Hare: "You may jump on to my back." As Hare sat on the elephant's back, she was quick to notice the two bags full of honey that the elephant was carrying. She started eating honey from one of the bags, and when she had eaten it all, she called out to Elephant saying: "Father, please hand me a stone to play with." When she was given the stone, she put it in the now empty bag of honey, and started eating the honey from the second bag. When she had eaten it all, she again requested another stone saying: "Father, please hand me another stone for the one you gave me has dropped, and I want to throw it at the birds." Elephant handed her another stone, and then another, as she kept asking for stones on the pretext that she was throwing them at the birds, until she had filled both bags with stones. When Hare realized that the elephants were about to arrive at their destination, she said to the elephant which was carrying her: "Father, I have now arrived, please let me down." So Hare went on her way. Soon afterwards, the elephant looked at his bags, only to realize that they were full of stones! He exclaimed to the others: "Oh my goodness! The hare has finished all my honey!" They lifted up their eyes and saw Hare leaping away at a distance; they set off after her. They caught up with Hare within no time, but as the elephants were about to grab her, she disappeared into a hole. But the elephant managed to catch hold of her tail, at which time the skin from the tail got peeled off. Elephant next grabbed her by the leg. Hare laughed at this loudly, saying: "Oh! You have held a root mistaking it for me!" Thereupon Elephant let go of Hare's leg and instead got hold of a root. Hare shrieked from within and said: "Oh father, you have broken my leg!" As Elephant was struggling with the root, Hare maneuvered her way out and ran as fast as her legs could carry her. Elephant had by this time managed to pull out the root only to realize that it was not Hare's leg. Once more he lifted up his eyes and saw Hare leaping and jumping over bushes in a bid to escape. Elephant ran in pursuit of her once more. As Hare continued running, she came across some herdsmen and said to them: "Hey you, herdsmen, do you see that elephant from yonder, you had better run away, for he is coming after you." The herdsmen scampered and went their separate ways. When Elephant saw the herdsmen running, he thought they were running after Hare; so he too ran after them. When he caught up with them, he said: "Hey you, herdsmen, have you seen a hare with a skinned tail passing along here?" The herdsmen answered: "You have passed her along the way as she was going in the opposite direction." While Elephant had been chasing the herdsmen, Hare had gained some time to run in the opposite direction. Next, Hare came upon some women who were sewing outside the homestead and said to them: "Hey you, mothers who are sewing, do you see that elephant from yonder, you had better run away for he is coming after you." On hearing this, the women scampered for the safety of their houses immediately. But soon the elephant caught up with them and asked: "Hey you, honorable ladies, might you have seen a hare with a skinned tail going toward this direction?" The women answered: "There she goes over there." Hare kept running and this time she came upon antelopes grazing and she said to them: "Hey you, antelopes, you had better run away for that elephant is coming after you." The antelopes were startled and they ran away as fast as their legs could carry them. But soon the elephant was upon them, and he asked them: "Hey you, antelopes, have you seen a hare with a skinned tail going in this direction?" They pointed out to him the direction that Hare had followed. Still on the run, Hare next came upon a group of other hares, to whom she said: "Hey you, hares, do you see that elephant coming from yonder? You should all skin your tails for he is after those hares with unskinned tails." Thereupon all the hares quickly skinned their tails. At the same moment the elephant arrived and asked them: "Hey you, hares, have you seen a hare with a skinned tail going towards this direction?" The hares replied: "Don't you see that all our tails are skinned?" As the hares said this, they were displaying their tails confident it would please Elephant. On noticing that all the hares' tails were skinned, Elephant realised that Hare had played a trick on him. Elephant could not find the culprit, for all the hares were alike. And there ends the story. Word of the week:  Sacrifice © Copyrighted

Von Andrea wusste ich nur, dass sie regelmäßig verreist – schlechte Voraussetzungen für eine Homestory? Mitnichten! Umrahmt von schweren Dachbalken und kräftigen Wandfarben zeigt sie mir beim Rundgang durch ihre Wohnung die Kelkheimer Schreinermöbel, afrikanische Masken, das Totoro-Konzeptbadezimmer im Aufbau, Kunst von Adriaen van Ostade und das chinesische Nachtschränkchen. Und doch ist es eine Homestory mit ordentlich Home Turf. Und Salvatore. Mehr von Andrea: Texte in der FAZ Tsundoku-Podcast Frau Diener verreist … Tumblr, Twitter, Flattr MP3-Download (73,6 MB)

Ana Diéguez, Investigadora