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.
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)
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.
n the 9th and 10th Centuries CE, Europe began to awaken from the has come to be known as the Dark Ages. Imposing churches were erected and many of these were decorated with sculptures. This new style of art and architecture, thought to be derived from that of the Roman Empire, has been called “Romanesque.” The sculpture from this time is full of a tremendous vitality and marked by a rich imagination. Some of the most impressive examples adorn the portal of the Abbaye de Saint Pierre in Moissac in southwestern France.
In late 1916, Thomas Edward Lawrence (1888-1935), a British intelligence officer stationed in Cairo, was assigned as a military liaison officer to the forces of Hussein bin Ali al-Hashimi, the Sharif of Mecca, who, with his sons Ali, Abdullah and Faisal had initiated the Arab Revolt against the Ottoman Turks in June 1916. Lawrence quickly adapted to the ways of his hosts and gained their trust. Under his leadership, the Arabs took the city of Aqaba in July 1917. This allowed the British to supply both their own army and the Arab rebels as they advanced on Jerusalem and Damascus. Lawrence led the Arabs as they disrupted the Hejaz Railway, and harried the Turkish army. His exploits were recorded on film and widely publicized by the American journalist Lowell Thomas, from whom came the epithet “Lawrence of Arabia.” Lawrence published a memoir of his experiences in 1927, Revolt in the Desert. A much more complete and introspective book on the Arab Revolt, Seven Pillars of Wisdom, was not formally published until after his death in 1935.
In May 1889, following several psychotic episodes in Arles, Vincent van Gogh (1853-1890) voluntarily admitted himself to the asylum at the monastery of Saint-Paul-de-Mausole in Saint-Rémy-de-Provence. He stayed there for just over a year. Despite several further episodes of severe depression and madness, van Gogh was incredibly prolific during this period, producing about 150 paintings, among them Starry Night.
Le Corbusier (1887-1965) was a Swiss-born architect, painter and urban planner. He is generally considered as one of the main forces in the development of modernist architecture. UNESCO has designated 17 of his building projects as “world heritage sites,” more than any other architect. In the 1940s Le Corbusier developed a system of measurements called the Modulor to assist in the fitting buildings to human beings. The first building to be constructed using the Modulor was the Unité d’Habitation, a striking and innovative residential building in Marseille, begun in 1947 and completed in 1952. In recent years, Le Corbusier has been criticized for his antisemitism and his fascist leanings. These critiques do not detract from the importance of his work but do explain how his buildings sometimes seem inhuman.
Alexander Young Jackson (1882-1974) studied art in France and Italy during the first years of the 20th Century. He learned the techniques of the Impressionists but was also affected by Van Gogh and Cézanne. After painting for a while in Quebec, he moved from Montreal to Toronto in 1914, and became friends with James MacDonald (1873-1932), Lawren Harris (1885-1970) and Tom Thomson (1877-1917). This group of painters began to paint en plein air in the wilderness in Northern Ontario. Their paintings forged a new style of landscape painting that combined aspects of neo-impressionism, art deco, and expressionism. In 1915, Jackson enlisted in the Canadian army and was wounded in 1916. After convalescence he returned to active service as an official war artist from 1917 to 1919. In late 1919, he joined Harris, MacDonald and Frank Johnston (1888-1949) on a trip to the Algoma wilderness. Drawings and oil sketches from this trip provided the basis for his 1920 painting First Snow, Algoma. In 1920, Jackson became a founding member of the Group of Seven, an association of Canadian landscape artists, which lasted from 1920 to 1933.
Conventional histories of art mention few female painters. As Germaine Greer famously pointed out in her 1979 book The Obstacle Race, this is more related to their lack of opportunity in a patriarchal and misogynistic society than to any lack of talent (see also Nochlin, 1971; 1988). Greer pointed to a “magnificent exception” to the rule that female painters do not become renowned: Artemisia Gentileschi (1593-1656), a baroque painter, whose images continue to fascinate us with their conception and shock us with their power.
According to the book of Genesis, Yahweh created Adam and Eve to live in the Garden of Eden. He commanded them on pain of death not to eat the fruit of the Tree of Knowledge of Good and Evil. However, Eve was convinced by the Serpent to eat of the tree, and she in turn convinced Adam to do the same. For their disobedience, Adam and Eve were expelled from Eden. The interpretation of this myth has led to the Christian idea that humanity is forever tainted by “Original Sin,” and that our only hope for immortality is through the sacrifice of Christ which offers redemption from sin and entry into eternity to those who believe in him. The concept of Original Sin has become dangerously ingrained in Christian thinking, and needs reworking,