Results found: 2

Search results

Search:
in the keywords: MUSES

Sort By:

Limit search:

'Polyhymnia' by Hendrick III van Cleve and Classical Sources for the Modern Iconography of the Muses

100%

Kalecinski M.

Ikonotheka

2004

issue 17

49-66

The collections of the Archdiocesan Museum in Katowice contain a painting by Hendrick III van Cleve, heretofore identified as 'Woman against the Backdrop of Roman Ruins' or an 'Allegorical Figure' , mistakenly identified with Thusnelda (oak board, 133 x 63 cm, oil-tempera). The painting, which comes from the inter-war collection of Rev. Emil Szramek, is signed with a combined monogram HVC and bears the date 1551. The original model of the female figure is Polyhymnia from a Roman sarcophagus with Apollo, Minerva and the Muses (Kunsthistorisches Museum, Vienna), which during the sixteenth century stood in front of the S. M. Maggiore church in Rome. Earlier, the classical model of Polyhymnia was emulated in depictions of the Muses (Filippino Lippi, Marcantonio Raimondi and Baldassare Peruzzi) and melancholic Figures (Lambert Sustris, Stephan von Calcar). 'Polyhymnia' by Hendrick van Cleve is a melancholic-saturnine figure depicted against the background of the interior of the Colosseum. A pedestal with satyrs is close to projects of herms by Cornelis Bos and Virgil Solis. Polyhymnia (Latin: rich in song) personifies the sacral choral song, while the satyrs - music with a Dionysian, ecstatic overtone. Polyhymnia and the satyrs symbolise two separate worlds of music conceived in accordance with Greek principles as an element moulding behaviour and character: the first is associated with the moral impact of the rhetoric word and poetry in the Apollonian spirit, while the second is the domain of instinct, awakened senses and ecstasy. The male half-bust featured in a rounded niche could be a self-portrait of the young artist - in that case, the van Cleve work would belong to a rare group of likenesses of artists shown against the backdrop of Roman ruins. The Colosseum is both one of the wonders of the classical world and a 'vanitas' image of the fleeting glory of antiquity. 'Polyhymnia' by Hendrick III van Cleve occupies a special place in his oeuvre - it was executed probably in Antwerp immediately after his return from Italy, during the year of his enrolment into the guild, and became a pretext for presenting the painter's Italian erudition. It is also the only figural composition in his exclusively landscape work, and discloses analogies to the Italian paintings by Lambert van Noort, although from the viewpoint of the workshop it discloses a glaringly unskilful rendition of the anatomy. Finally, 'Polyhymnia' remains one of the most interesting examples of antiquisation in works by members of the third generation of Italianite artists from the Low Countries.

Músický charakter básnické řeči

100%

Konradova V.

Listy filologické (Folia philologica)

2007

vol. 130

issue 3-4

205-228

The article deals with the role of the Muses in archaic poetry, namely in the works of Homer and Hesiod. It points out the uniqueness of the presence of the Muses in poetic context, which marks off Greek poetry in comparison with other poetic traditions. The first part of the analysis focuses on Homeric conception of the Muse, especially on her connection with 'memory'. The core of the argument lies in the analysis of memory, based on textual evidence, which shows that the memory of the Muses doesn't work simply as 'remembering the past' - the invocation of the Muse in Homeric poems suggests another interpretation, namely that the function of the Muse is to make the portrayed events present. The proposed interpretation steps over the concept of memory as a reservoir of the past. The second part of the analysis turns to Hesiod and to the prooemium of his Theogony. Hesiod's report about the Muses is rich and it draws our attention to a number of ambivalent features, which characterize the performance of the Muses. These features express themselves in the polarity mnemosyne - lesmosyne and pseudea - alethea. Both poles of these pairs act in the performance of the Muses - understanding of the function of memory, which is not a storage place of the past, helps to understand that 'remembering' in this context does not eliminate 'forgetting', and that both of these poles are complementary. Taken together, the pairs of opposites mnemosyne - lesmosyne and pseudea - alethea demonstrate one aspect of divinity, foreshadowed in the poems of Homer and Hesiod, i.e. the aspect of ambiguity, which is specifically articulated in the case of Hesiodic Muses.

Refine search results

1 Ikonotheka

1 Listy filologické (Folia philologica)

1 Kalecinski M.

1 Konradova V.

1 2007

1 2004

Search results

'Polyhymnia' by Hendrick III van Cleve and Classical Sources for the Modern Iconography of the Muses

Músický charakter básnické řeči