The Museum Oeuvre Notre Dame
It presents the art of the Middle Ages and the Renaissance in the Upper Rhine region. The statuary of the cathedral of Strasbourg, paintings, sculptures, stained glass, silverware, furniture and a Gothic garden are collections of this museum atmosphere. A first visit of the Museum of Notre Dame work: writing workshops In front of Each of the works covered, a writing exercise with forced Many Individuals allowed to Each student has first-have personal approach to the work. The pooling of different answers Each Time Was the starting points of discussion.
Deacon rood screen Strasbourg Cathedral Sandstone in 1250, the round H: 149 cm This young deacon Does not hold a book His Hands … There is something else … Write constraint: In his hands, this young man holds Perhaps Stone … or maybe … or maybe … List all que le might statue
Carefully grip n In His Hands
The Tempter South portal of the western façade of the cathedral 1280-1300 Towards Sandstone, traces of polychrome H. 160-170 cm Here is The Beginning of sentences says the statue (Inspiration: Stephanie Schneider, workshops expressions, access editions, 2010): I am … One day, I … One day, I Was Told I forgot … that … I have … I do not have … I wait … I would like …
13th century. North Portal, façade of Strasbourg Cathedral Sandstone Constrained writing: Maybe She Was turned to stone because … List what petrify Could the woman and turn into a statue.
Lovers dead, Swabia around 1470, oil on panel Collective poetic play What for? …
The Alsatian Museum
The Alsatian Museum seen from the Quai Saint-Nicolas
The courtyard of Alsatian Museum
The collections of the Museum occupy three old Alsatian
(23 to 25 Quai Saint-Nicolas) and present through objects and sets the lives of wealthy rural families Alsatian the eighteenth and nineteenth centuries.
A tour through the museum told to evoke the rural society of the nineteenth century in Alsace and highlight – without trial – situations that generate violence.
Life in the countryside, which was Catholic, Protestant or Jewish (the three religions Concordat) was held in the village, in a rich farm than Wolfisheim or more modest. Some farms were richly decorated and it was not uncommon for a decorative motif or inscription makes direct reference to religion from its owners. As for the Muslim community is not represented in the museum collections Alsace since it was formed until 1950.
Scale model of a farm Wolfisheim 1814
Wall decorated with a firm Issenhausen
When a girl is married, she usually married a young man who lived in the same town, had the same social level and the same religion it. The great moments of marriage took place in the beautiful dining-living of the house, part that Alsatian named Stub. At the time, marriages between young people of different religions were rare and very unpopular. One was talking between coreligionists, with a consequent lack of knowledge of different religious communities, hence the existence of many prejudices.
Stube Wintzenheim 1810
If the sumptuary laws (marking the social level through many behaviors which vestimentation) disappear at the end of the eighteenth century, religious differentiation is still fresh in the Alsatian costume nineteenth century. A young Protestant girl (green skirt, purple) is very different from a Catholic girl (red skirt) and they do not frequented in the small villages.
Childbirth was once held in the house where the woman in labor was assisted by a midwife same religion it.
Protective amulet given birth to Jewish, deposit SHIAL
MUSEUM OF FINE ARTS The museum presents a panorama of the history of painting in Europe Italian and Flemish primitives to 1870
First visit of the Museum of Fine Arts
Giuseppe Maria Crespi, Christ fallen under the cross, around 1735,
Oil on wood
• A man abused … how do you see? How the painter he shows us his suffering?
• What did he have done to suffer such violence?
• This man is the Christ.Représenté swollen face during his Passion, he is here accompanied by one of his executioners seems to revel in the suffering it inflicts. Few painters have figured Christ in such suffering of his body. A pain he shares with us his look.
Artwork 3 et 4
Jean-Frédéric Schall, Maternal Fright
Towards 1798Huile wood and oil on canvas
The feelings / emotions that we do not control: jealousy, fear, anger
The choices made and their consequences … … write the rest of the story (What are the consequences of violence and how things right? …
When possible ?)
• A couple is facing a terrifying spectacle in their bedroom, the bed of their baby was overthrown and their dog has the mouth
Thinking that the animal attacked the child, the father does not seek more
explanations and beat the dog to death … He will realize too late that the poor animal was innocent. The dog had protected the child against the attack of a snake. It is the blood of the reptile he had in the mouth!
The modern and contemporary art museum
Its collections of paintings, sculptures, installations, graphic arts and photography from 1870 to the present, are mainly focused on Western Europe (Kandinsky, Picasso, Arp, Baselitz …) and provide a rich overview pioneers of modern art to contemporary art. Two or three annual exhibitions complete the artistic panorama.
Georg Baselitz, Bild einunddreizig 1994 Oil on canvas
Zéralda, my dear, I feel good there! I can not move any member, and everything turns before my eyes. I eat too much of baked potatoes, at noon. I could never go to the market tomorrow! It will take you to go alone in my place. On this picture, deZéralda father says one thing, the picture says another. On the ground, a bottle of wine half drunk, a woman’s portrait crossed with a black ribbon, these details suggest to us that this is a family man, widowed and unhappy who takes refuge in the alcohol.
Little Dancer Aged Fourteen
Hilaire-Germain-Edgar Degas, French, 1834-1917
Modeled 1879-81, cast 1919-21
Bronze with gauze tutu and silk ribbon, on wooden base
When Degas’s Little Dancer Aged Fourteen was first exhibited at the 1881 Impressionist exhibition—modeled in wax, with a real tutu and real hair—reaction was mixed. The figure’s awkward limbs and inscrutable expression seemed at odds with the traditional image of the elegant ballerina. Some critics called the sculpture “hideously ugly,” while others applauded its realism. This bronze was cast from the wax original after Degas’s death.
Read more here: http://www.clarkart.edu/Collection/3551
Is art criticism a type of aggression?
If so, where is the line between constructive criticism and hurtful criticism?
The ballerina in this sculpture does not look happy or relaxed. Is her discomfort justified for the sake of the art?
C.R.W. Nevinson, English, 1889-1946
Drypoint on paper
Known for his bleak and graphic depictions of World War I, C. R. W. Nevinson worked as a painter and printmaker throughout his career. Nevinson began his artistic training in 1908 at St. John’s Wood School of Art, and enrolled at the Slade School of Fine Art in London the following year. His visit to the Sackville Gallery’s 1912 Futurist exhibition inspired him to start working in that manner. His connection with the Italian Futurists and especially their leader, the poet and editor Filippo Tommaso Marinetti, was cemented with their jointly written manifesto, “Futurism and English Art” (1914). But in marked contrast to the Futurists’ heroicizing approach to World War I, Nevinson increasingly utilized this style to capture the war’s horror and devastation. As an ambulance driver for the Red Cross and, later, as an official war artist for the British government, Nevinson developed a visual vocabulary focused on military combat and its aftermath. Abandoning Futurism in 1919, Nevinson concentrated on naturalistic urban scenes until ceasing his printmaking practice in 1932. His autobiography, Paint and Prejudice, was published in 1937 as a memoir primarily of his experiences as an artist during the Great War.
Jan Provoost, Netherlandish, 1465-1529
Oil on panel
Joseph of Arimathea supports Christ’s body as John the Evangelist wipes away a tear and places a consoling hand on the Virgin’s shoulder. Mary Magdalene clasps her hands in prayer. In the background, three crosses refer to Christ’s recent Crucifixion, and a man preparing a tomb alludes to his future entombment. The painting may originally have formed part of a polyptych, an arrangement of four or more panels, telling the story of Christ’s life. By including a Gothic church, Provoost set these scriptural events in the fifteenth century.
Dead Christ with Joseph of Arimathea and Nicodemus (Sepulcrum Christi)
Perugino, Italian, 1450-1523
Oil possibly with tempera on panel, transferred to fabric on panel
Joseph of Arimathea looks on contemplatively as a tearful Nicodemus supports Christ’s lifeless body on a stone tomb, which is inscribed in Latin with the artist’s name and the work’s subject, “sepulcher of Christ.” The painting may originally have been positioned above an altar in a private chapel, where its somber mood was meant to encourage devotion and prayer. Despite his bloody wounds, Christ is depicted with an idealized body, like that of a classical statue, and a serene expression, suggesting his eventual triumph over death.