Podcasts about horatii

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books!   In s2e31 of Platemark's History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter's The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus' Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d'Agoty's Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot's Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge.   At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile. A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving. Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l'année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago. Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London. Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie's Popular Monthly. Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier. Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l'escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London. Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774. Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome. William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London. Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749.  Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Myologie complette en couleur et grandeur naturelle. Paris: Gautier, Quillau, Lamesle, 1746.  Leonardo da Vinci (Italian, 1452–1519). Sketchbook page, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Exposition anatomique des organes des sens. Paris: Demonville, 1775.  Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie générale des viscères. Paris: 1752. Jacques Fabien Gautier d'Agoty (French, 1716–1785). Plate from Anatomy of the head, in printed images, representing the natural appearance of the brain at different levels, the distribution of the vessels, the sensory organs and part of the nervous system; taken from dissected and prepared portions of the subjects, 1748. Wellcome Library Collection, London. Jacques Fabien Gautier D'Agoty (1717–1785). Plate from Anatomie des parties de la génération de l'homme et de la femme. Paris, 1773.' Pregnant Woman Jean-Antoine Houdon (French, 1741–1828). Denis Diderot (1713–1784), 1773. Marble. Height (bust): 15 3/4 in. (40 cm.); height (stand): 4 11/16 in. (11.9 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Anatomy pages from the Encyclopedia Britannia, 1963. Flags pages from the Encyclopedia Britannia, 1963. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Denis Diderot (French, 1713–1784) and Jean le Rond d'Alembert (French, 1717–1783). Plate from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris: André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York.

In Platemark's History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history.   You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com.   George Peabody Library, Johns Hopkins University, Baltimore. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Aerial view of Versailles. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Façade of the Louvre Museum. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican. Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City.   Wax ecorché figure. Science Museum, London. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

The Sixth Element of Cardinalness: Romanitas, or "Roman-ness" The Elements so far: Creation Continuity Exile Service Relationship Romanitas   IMAGE: The Oath of the Horatii (1784), by Jacques-Louis David and Anne-Louis Girodet de Roussy-Trioson. Via Wikimedia Commons: https://en.wikipedia.org/wiki/Roman_salute#/media/File:Jacques-Louis_David_-_Oath_of_the_Horatii_-_Google_Art_Project.jpg  

The duel between the Horatii brothers and the Curiatii brothers seemed to settle the Roman-Alban dispute and give Rome authority over Alba. But wily Mettius Fufetius has a trick or two up his sleeve. Meanwhile, the one surviving Horatius brother strikes down his sister in cold blood, an incident Jacques-Louis David drew but never ended up painting. The civilized three-on-three duel now threatens to give way to an all-out war of extermination between Rome and Alba. This is the sixth episode of "No Republic Was Ever Greater," a podcast series examining the rise of the Roman Empire through the work of Livy and Machiavelli. Livy's Ab Urbe Condita: https://amzn.to/3gYwtbhMachiavelli's Discourses on Livy: https://amzn.to/3NtNBSjFustel de Coulanges's La Cité Antique (French): https://amzn.to/3yzATuZFustel de Coulanges's The Ancient City (English): https://bookshop.org/a/25626/9780648690542Jacques-Louis David's Oath of the Horatii: https://en.wikipedia.org/wiki/Oath_of_the_HoratiiNicolas Poussin's Rape of the Sabine Women: https://en.wikipedia.org/wiki/The_Rape_of_the_Sabine_Women#/media/File:L'Enl%C3%A8vement_des_Sabines_%E2%80%93_Nicolas_Poussin_%E2%80%93_Mus%C3%A9e_du_Louvre,_INV_7290_%E2%80%93_Q3110586.jpgArlette Clavet's Unpublished Studies for 'The Oath of the Horatii': https://www.jstor.org/stable/1552932Corneille's Horace: https://amzn.to/41zF1IyNew Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

After the long peace of Numa's reign, Rome gets a new king, even more ferocious than Romulus: Tullus Hostilius. As soon as he comes to power, he begins looking for a way to start a war (while keeping a good conscience about it). This is the fifth episode of "No Republic Was Ever Greater," a podcast series examining the rise of the Roman Empire through the work of Livy and Machiavelli. Livy's Ab Urbe Condita: https://amzn.to/3gYwtbhMachiavelli's Discourses on Livy: https://amzn.to/3NtNBSjFustel de Coulanges's La Cité Antique (French): https://amzn.to/3yzATuZFustel de Coulanges's The Ancient City (English): https://bookshop.org/a/25626/9780648690542Friedrich Nietzsche's Beyond Good and Evil: https://bookshop.org/a/25626/9780140449235J.R.R. Tolkien's The Fellowship of the Ring: https://bookshop.org/a/25626/9780547928210Hesiod's Theogony: https://bookshop.org/a/25626/9780199538317Jacques-Louis David's Oath of the Horatii: https://en.wikipedia.org/wiki/Oath_of_the_HoratiiNew Humanists is brought to you by the Ancient Language Institute: https://ancientlanguage.com/Links may have referral codes, which earn us a commission at no additional cost to you. We encourage you, when possible, to use Bookshop.org for your book purchases, an online bookstore which supports local bookstores.Music: Save Us Now by Shane Ivers - https://www.silvermansound.com

In this episode, I'll discuss my favorite paintings by the Neoclassicist painter Jacques-Louis David. The images featured in this episode are The Swing (1767) by Fragonard, The Oath of the Horatii (1784) by David, The Death of Socrates (1787) by David, The Intervention of the Sabine Women (1799) by David, Napoleon Crossing the Alps (1801) by David, Napoleon I on His Imperial Throne (1806) by Inges, and Emperor Napoleon in His Study at the Tuileries (1812) by David. 

What's the story behind the painting Oath of the Horatii by Jacques Louis David? – Roman soldiers and a concocted salute – Loyalty and love at war – Strident brothers and their despairing sister Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

A dispute between the young city of Rome and its neighbor, the ancient capital called Alba Longa, escalates into war. Rome's ambitious king, Tullus Hostilius, seeks a glorious victory in battle; a fateful duel to the death ensues, fought between the Horatii, a set of three brothers from Rome, and the Curiatii, three brothers from Alba. The freedom of Rome and Alba Longa hang on the outcome of the duel of champions. A story from Roman history (7th century BC), based on Livy's History of Rome (Book 1.22-25), featuring: Tullus Hostilius, the Horatii brothers (feat. Publius Horatius), the Curiatii brothers, Mettius Fufetius, Gaius Cluilius, Marcus Valerius the Roman Fetial, Spurius Fusius the Alban Pater Patratus Original story by Wesley Coulson --- CREDITS: Music by Kevin MacLeod and Scott Buckley Episode Thumbnail Image: The Oath of the Horatii (Jacques-Louis David, 1784) WDS Logo Image: Kylix with Apollo playing the lyre and pouring a libation (c. 470 BC, Delphi Archeological Museum) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It's weird that contemporary art isn't Modern Art, right? Modernism can be confusing, but host Klaire Lockheart will do her best to guide you through it. She will even improve upon the typical art history narrative because she will include women artists, such as Hilma af Klint and Georgia O'Keeffe! Artists and Artwork: Jacques-Louis David (Oath of the Horatii), Hilma af Klint (The Ten Largest, number 7 - Adulthood, Paintings for the Temple), Wassily Kandinsky, Georgia O'Keeffe (Jimson Weed/White Flower No. 1), Willem de Kooning (Interchange), Frida Kahlo, Marcel Duchamp, André Breton, and Diego Rivera Additional Topics: Bruce Campbell (Army of Darkness), 1913 Armory Show, Beyond the Visible - Hilma af Klint, Theosophy, William V. Dunning, Art for Art's Sake, Jo van Gogh-Bonger, Degenerate Art Exhibition, Leon Trotsky Impressionism, Orientalism, Postimpressionism, Fauvism, Cubism, Suprematism, Dadaism, Surrealism, Abstract Expressionism, Pop Art, and Postmodernism klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

In this episode of Accessible Art History: The Podcast, I venture into the world of Neoclassical art. For images and sources: https://www.accessiblearthistory.com/post/podcast-episode-29-the-oath-of-the-horatii-by-jacques-louis-david --- Support this podcast: https://anchor.fm/accessiblearthistory/support

Paucis colloquiis iam habitis de Boethii opere de Philosophiae Consolatione, manifestum est (nobis saltem) rimandum esse quidnam sit consolatio. Multum Augustus consolationis dixit se invenisse in carmine Horatii ubi Faber autem nil huius generis vidit, cui aliud est consolari velle aliud alicunde sua sponte solacium accipere. Quid igitur sit haec res quam consolationem appellamus?

Philosophia Boethii docet nobis cavendum esse a Musis scaenicis quae nos aegros dulcibus alant venenis et morbo cuidam assuefaciant. Sunt autem poetae, ut Horatius, qui nos carminibus consolantur de vita humana. Ecquid nos homines naturā morti obnoxios consolari possit? quidsi mors ipsa consolatio ut Boethius in carmine primo docere videtur? Infra legi potest carmen Horatii de quo in hoc episidio colloquimur: 4.VII Diffugere nives, redeunt iam gramina campis arboribusque comae; mutat terra vices et decrescentia ripas flumina praetereunt; Gratia cum Nymphis geminisque sororibus audet 5 ducere nuda choros. Inmortalia ne speres, monet annus et almum quae rapit hora diem. Frigora mitescunt Zephyris, ver proterit aestas, interitura simul 10 pomifer autumnus fruges effuderit, et mox bruma recurrit iners. Damna tamen celeres reparant caelestia lunae: nos ubi decidimus quo pater Aeneas, quo dives Tullus et Ancus, 15 puluis et umbra sumus. Quis scit an adiciant hodiernae crastina summae tempora di superi? Cuncta manus avidas fugient heredis, amico quae dederis animo. 20 Cum semel occideris et de te splendida Minos fecerit arbitria, non, Torquate, genus, non te facundia, non te restituet pietas; infernis neque enim tenebris Diana pudicum 25 liberat Hippolytum, nec Lethaea valet Theseus abrumpere caro vincula Pirithoo.

Episode 5: Taken from the Headlines   October 7, 2020    “Taken from the Headlines” considers European history painting, its roots and its legacies. What exactly are history paintings? And why are they significant in the canon of Western art? In this episode of “Unboxing the Canon” Dr. Steer examines these questions along with some historical examples before turning to the present moment to consider how artists use this genre today and reflect on some of its limitations. This episode covers the concept of istoria and Renaissance narrative paintings, dramatic 19th century history paintings in France and their relationship to politics, and contemporary Indigenous work dealing with the trauma of the residential school system in Canada.   Sources + further reading: Alberti, Leon Battista. On Painting. [First appeared 1435-36] Translated with Introduction and Notes by John R. Spencer. New Haven: Yale University Press. 1970 [First printed 1956]. http://www.noteaccess.com/Texts/Alberti/index.htm   David, Jacques-Louis. The Oath of the Horatii. 1784. 3.30 m x 4.25 m. Louvre. https://www.louvre.fr/en/oeuvre-notices/oath-horatii   Géricault Théodore. The Raft of the Medusa. Salon de 1819. 4.91 m x 7.16 m. Louvre. https://www.louvre.fr/en/oeuvre-notices/raft-medusa.   Garneau, David. “Writing About Indigenous Art with Critical Care.” C Magazine 145 (March 10, 2020). https://cmagazine.com/issues/145/writing-about-indigenous-art-with-critical-care.   Madill, Shirley. “Key Works: Robert Houle, Sandy Bay Residential School Series, 2009.” Robert Houle: Life and Work. Art Canada Institute - Institut de l'art canadien. Accessed September 30, 2020. https://www.aci-iac.ca/art-books/robert-houle/key-works/sandy-bay-residential-school-series   Monkman, Kent. Painting. https://www.kentmonkman.com/painting   Morgan-Feir, Caoimhe. “Kent Monkman: History Painting for a Colonized Canada.” Canadian Art. January 26, 2017. https://canadianart.ca/features/kent-monkman-critiques-canada-150/.   Zappella, Christine. “Ceiling of the Sistine Chapel.” i Smarthistory, August 9, 2015, accessed October 1, 2020. https://smarthistory.org/michelangelo-ceiling-of-the-sistine-chapel   Zucker, Steven and Beth Harris “Raphael, School of Athens.” Smarthistory, December 15, 2015, accessed October 1, 2020. https://smarthistory.org/raphael-school-of-athens     Credits Unboxing the Canon is hosted and produced by Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. Our sound designer and editor is Devin Dempsey, who is also reading these credits. Our logo was created by Cherie Michels. The music for this podcast has been adapted from “Night in Venice” and “Inspired” by Kevin MacLeod. Both are licensed under Creative Commons Attribution International 4.0. Sound effects in this episode obtained from www.zapsplat.com We are grateful to Alison Innes from the Faculty of Humanities for her sharing her podcasting wisdom and offering support. This podcast is funded by the Humanities Research Institute at Brock University.

It's time for some death metal. Nothing but death metal. Ripping death metal. Crushing death metal. Brutal, technical, gut-busting death metal. And of course, the monstrously inbred, three-headed stepchild... slam. The Black Metal Guy leads off with debut full-lengths from Draghkar and Sepulchral Curse, two strikingly original takes on oldschool sounds. For Draghkar, it's 80s proto-death filtered through epic speed metal. For Sepulchral Curse, it's Stockholm death metal filtered through a thoroughly Finnish sensibility. But will The Black Metal Guy's picks pass muster with the famously picky Death Metal Guy?? In the second half of the show, the Death Metal Guy brings us to the vanguard of weird brutality, with the new one from German masters Defeated Sanity, and the return of the Hellenic slamophiles, Embryectomy. DS's The Sanguinary Impetus is their most out-there yet, leaving both your hosts' jaws on the floor. Embryectomy work at the total opposite end of the spectrum, perpetrating an almost unthinkable atrocity -- a slam record without all those pesky trem riffs and blasts. And you know when the slams are hot and heavy, The Death Metal Guy can't control himself. So strap yourself in for the latest spasm of Autism Hour... the Grand Unified Theory of Slam. 00:00 - Introductory bullshitting / gore stories / rundown of bands and labels 12:11 - Draghkar - At The Crossroads of Infinity (Unspeakable Axe - imprint of Dark Descent) 52:56 - Sepulchral Curse - Only Ashes Remain (Transcending Obscurity Records) 01:27:30 - Defeated Sanity - The Sanguinary Impetus (Willowtip Records) 01:59:35 - Embryectomy - Flamethrower Ecdysis (Morbid Generation Records) 02:20:06 - Autism Hour - The Grand Unified Theory of Slam 02:44:37 - Outro - House Of Atreus - "Oath of the Horatii," fr. From the Madness of Ixion CORRECTION: Early on in the show, The Black Metal Guy accidentally combines Azath's Andrew Lee w/ his bandmate, Brandon Corsair, to make "Brandon Lee." That's Bruce Lee's son, who starred in - and made the ultimate sacrifice for - The Crow. CLARIFICATION: Sepulchral Curse only shares two members with Solothus - Kari Kankaanpää (vocals) and Aleksi Luukka (guitars). Both also play in Yawning Void (Finnblack death-doom) with Tommi Ilmanen (drums and vocals).

More great books at LoyalBooks.com

It's the dawn of new ideas in art and music, but we're not talking about the present. Nope. We're gonna have to rewind a couple hundred years to illuminate a social and philosophical movement that kindled drastic change in the arts. You won't stay in the dark for long as we dig into this episode's topic - The Enlightenment! ----more---- Art: Jacques-Louis David (1748-1825) - The Oath of the Horatii (1784) Benjamin West (1738-1820) - The Death of General Wolfe (1770) Angelica Kauffman (1741-1807) - Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures (1780-1790)  ----more---- Music: George Frederich Handel (1685-1759) - Messiah (1741), Part II: Air. "Why Do the Nations So Furiously Rage Together" Franz Joseph Haydn (1731-1809) - String Quartet in G Major (1799), Hob.III:81, II. Adagio Franz Joseph Haydn - Symphony No. 101 in D Major (1794), Hob.I:101, IV. Finale. Vivace Carl Philipp Emanuel Bach (1714-1788) - Symphony in E Minor (1756), Wq. 178, I. Allegro Assai Ludwig van Beethoven (1770-1827) - Piano Concerto No. 3 in C Minor (1800), Op. 37, III. Rondo Wolfgang Amadeus Mozart (1756-1791) - Symphony No. 40 in G Minor (1788), K.550, IV. Finale. Allegro Assai

The reign of Tullus Hostilius, Rome's third king, was characterised by war, war, and war. The clue really was in the name 'Hostilius'! In this episode, we'll take a closer look at the campaigns of Tullus and some of the dilemmas he faced, including an heroic showdown between two sets of triplets and a not-so-heroic return for the victor.

In hoc acroamate, Horatii epodon II legimus, in quo vitam rusticam describitur et extollitur laudibus...sed quisnam laudem profert? Perlegendum est carmen!

Tullus Hostilius was de derde koning van Rome. Hij regeerde tussen 673 en 642 v. Chr. en zo vredig als zijn voorganger Numa Pompilius was, zo oorlogsgezind was Tullus Hostilius. De deuren van de tempel van Janus werden vrijwel direct geopend en in deze staat zullen ze blijven ze verkeren. De Romeinen komen in oorlog met Alba Longa, Fidenae én Veii en in een van deze oorlogen speelt een van de bekendste duels zich af, die tussen de Horatii en de Curiatii. Hier vind je de link naar de website van deze aflevering.Hier vind je de link naar de facebookpagina.

Join the Babes for the fast facts on French artist Jacques-Louis David's massive Neoclassical painting, "The Oath of the Horatii" and a discussion of David's complicated/fascinating relationship with aristocracy and revolutionary forces. Related Episodes: Episode 91: Apesh*t https://www.arthistorybabes.com/episode-91-apesht Check out our Patreon for exclusive bonus episodes! www.patreon.com/arthistorybabes Featured Artist: Zach Clark bit.ly/2IOn4x7 Insta: @arthistorybabespodcast Twitter: @arthistorybabes Email: arthistorybabes@gmail.com Youtube: The Art History Babes - bit.ly/2KARhkx Learn more about your ad choices. Visit podcastchoices.com/adchoices

Salvete Amici! Hodie loquor de carmine IV. 11 Horatii, praeter alia. Hoc est secundum podcastum, sed illud ante primum feci, ut conturbem omnes.

Part 2 of the Lecture - An Analysis of the Horatti by David. Includes a Formal Analysis, A New Art History Analysis, and a Gender Analysis