Leading Ladies: Sarah Bernhardt, Eleonora Duse, Ellen Terry

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In the latter half of the 19th Century three actresses ruled supreme in the hearts of theatre-goers: the French Sarah Bernhardt (1844-1923), the Italian Eleonora Duse (1858-1924), and the English Ellen Terry (1847-1928). They played all parts: from the classics of Shakespeare and Racine, through the romantics such as Dumas and d’Annunzio, to the new naturalists such as Ibsen. They toured the world but acted only in their mother tongue. Their emotional intensity and stage presence communicated with their audiences even when their words were not understood. They were the first superstars: idolized by their public, celebrated by artists, and honored by poets.    

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Friedrich Hölderlin: Little Knowledge but Joy Enough

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Johann Christian Friedrich Hölderlin (1770-1843) was one of Germany’s greatest lyric poets. He was exquisitely sensitive to the beauties of the natural world, and thoroughly enamoured to the glories of Ancient Greece. His verses are strikingly beautiful in their sound, and have been set to music by many composers. As a young man he was very productive, writing poems and the epistolary novel Hyperion (1799). He also made important new translations of Sophocles’ Oedipus and Antigone. However, in 1806 he lapsed into madness. From 1807 until his death, he lived alone in a room overlooking the Neckar River in Tübingen. He mumbled to himself in many languages, and occasionally wrote brief fragments of verse for visitors, signing them with various pseudonyms and fictitious dates.  This posting considers some of his poetry.The text of the poems can been enlarged by clicking on them to get a separate window. Read more

Mathis der Maler: the Isenheim Altarpiece

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Very little is known about the life of Matthias Grünewald, a painter (German Maler) who worked in the early decades of the 16th Century in Germany. He is renowned for the pictures he created between 1512 and 1516 for the altarpiece of the Monastery of Saint Anthony in Isenheim in southern Alsace. The face of Saint Sebastian in one of these paintings (above) is considered to be a self-portrait. 

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Bridget Riley: Perceptual Abstraction

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Bridget Riley (1931-  ) came to fame in the early 1960s with her striking black-and-white abstract paintings, which were paintings were included in an important exhibition organized by the Museum of Modern Art in New York, entitled The Responsive Eye (1965-66). After her first success, she moved on to colored abstract paintings and prints that infuse the viewer with a sense of movement.

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Paul Klee: Color and Music

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The paintings of Paul Klee (1879-1940) gave us a new way to look at the world, allowing us to go beyond our immediate perceptions and see the underlying forms. 

Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.
Art does not reproduce the visible; rather, it makes visible.
(Klee, Creative Confession, 1920/2013, part I).

Color and music were the two great principles underlying his art. The tonal relations between colors and the rhythms of their spatial presentation combine to give us understanding. Many composers have sought to express Klee’s paintings in their music, to complement his colors with their notes. This essay presents some of these compositions. On the right is a portrait of Paul Klee by Hugo Erfurth in 1922

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Ely Cathedral: The Ship of the Fens

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Ely Cathedral was originally situated on a low island in the middle of the Fens, a region of marshland in eastern England lying inland of the Wash. Because of the flatness of the surrounding land the cathedral could be seen from great distances, appearing as the “Ship of the Fens.” The marshes were drained in the 17th Century, but it is still easy to imagine the building floating above the waters: the embodiment of Auden’s image of the English cathedrals:

Luxury liners laden with souls,
Holding to the east their hulls of stone.
(Auden, 1936, p 43; also McDiarmid, 1978, p 292)

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Frank Lloyd Wright: the Prairie Home

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Frank Lloyd Wright (1867-1959) was one of the great forces in modern architecture. In the early years of the 20th Century, he designed many beautiful houses in a characteristic style that later defined the Prairie School of Architecture. This post comments on some of these houses.

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Looking at the Human Brain: from Vesalius to the Present

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Andreas Vesalius (1514-1564) published his De Humani Corporis Fabrica (On the Fabric of the Human Body) in 1543 (O’Malley, 1964). This book, based on dissections of human cadavers, provided illustrations of the human brain that were both anatomically correct and esthetically pleasing. The scientists that followed Vesalius expanded on our knowledge, and produced their own representations of the human brain. This essay traces the evolution of these pictures.

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Words and Music: Schubert and Goethe

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Franz Peter Schubert (1797-1828) died young, but not before he was able to compose music that has become justly famous. As well as symphonies, piano works, sacred music, and chamber works, he composed over 600 songs or Lieder. This essay considers a few of his over 70 settings for poems by Johann Wolfgang von Goethe (1749-1832)

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In Search of Form: The Sculpture of Henry Moore

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Henry Moore (1898-1986), one of the greatest sculptors of the 20th Century, created striking three-dimensional forms using many different techniques – carving, casting, modelling – and many different materials – stone, bronze, iron, wood, concrete, polystyrene. In the words of Herbert Read (1965, p 259)

He is a maker of images – or, as I prefer to call them because they have material existence – of icons, and he is impelled to make these icons by his sense of the forms that are vital to the life of mankind.

Each of Moore’s works was derived from nature, but Moore simplified and abstracted the experience to provide an emotional understanding rather than a sensory representation This essay comments on the nature of form and considers some of Moore’s works.

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