ART STORIA

ART STORIA ART STORIA (meaning 'Art History' in Italian) is a publisher of magazines, books and academic scholarship. ART STORIA | ASAG Journal is an arts & culture magazine surveying human ingenuity in the arts, the histories & the sciences.

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ART STORIA | Publishing House Literary Arts book of the month 📖'HEART OF DARKNESS'by Joesph Conrad, Foreward by Randy So...
02/10/2021
Heart of Darkness (ART STORIA | Literary Classics Annotated Edition)

ART STORIA | Publishing House
Literary Arts book of the month 📖

'HEART OF DARKNESS'
by Joesph Conrad, Foreward by Randy Sookanan, Edited by Denise K. McTighe, Cover Art by Malte Madsen

Kindle: https://www.amazon.com/dp/B08QQ2SNL6
Paperback: https://www.amazon.com/dp/B08QRPLPFQ

About the Book:

Heart of Darkness was published in 1899. It was written by Joseph Conrad and is about a voyage up the Congo River. The novella contains a story within a story, following a character who recounts his adventure to a group of people. In the story, a voyage takes readers deep into the Congo Free State. Upon the river, we journey into the very heart of Africa. The narrator, Charles Marlow, describes his travels in the African continent to his friends while aboard the boat anchored on the River Thames. Heart of Darkness implicitly comments on imperialism and racism. It acts as a reflection on corruptive European colonialism and is a journey into the nightmare psyche of those who have become corrupt. Heart of Darkness is considered to be one of the most influential works ever written.

From the Publisher:

ART STORIA | Literary Classics is a collection of influential books that have transformed storytelling and philosophical thinking while remaining relevant to the modern reader. Certain titles in the series are lesser-known, but all have had a great impact on forming entire genres and modes of thought. Our selected works are considered inception points for definitive narrative styles and writing techniques. In the realm of literary arts, some authors truly displayed ingenuity in their craft, and their stories and ideas have had an enduring cultural influence on humanity.

Our Literary Arts series is Annotated with Forewords, Introduction, Literary Critique, Historical Context and Contemporary Analysis. Each book cover features artwork made by a resident artist from our Galleria. They are available in Kindle eBook format and paperback editions through all international Amazon marketplaces.

Heart of Darkness (ART STORIA | Literary Classics Annotated Edition)

Zodiac Signs in Art, October (Libra)Artist: Petrus Christus 🇳🇱Title: The goldsmith’s workshop Date: 1449Artwork Location...
01/10/2021

Zodiac Signs in Art, October (Libra)
Artist: Petrus Christus 🇳🇱
Title: The goldsmith’s workshop
Date: 1449
Artwork Location: Metropolitan Museum, New York 🇺🇸
Medium: Oil on panel

Like the Tuscan painters of the fifteenth century, the Flemings of the same period carried out extensive research on the representation of reality through their interest in volume, spatiality, light. The light in Flemish painting, due to their use of oils, does not have the selectivity of that used by the Tuscan painters, but illuminates in the same way both the protagonists in the foreground and all the other objects, even those apparently insignificant. The goldsmith’s workshop is one of the best examples where reality is described in detail.

The city of Bruges was the commercial capital of the Duchy of Burgundy, it was a rich, multicultural city where they lived by trading in the rarest and most valuable goods.

A rich couple are inside a goldsmith’s shop to buy wedding rings, the goldsmiths were a great corporation and at the court of Burgundy gold represents the symbol of power. Wealth was not shameful, on the contrary, it was to be displayed.

The woman wears a gold brocade dress with pomegranate decoration, a two horned hat with silk veil, which was the height of fashion. With her left hand, she points at the ring.

He wears a blue silk velvet fur-lined jacket with a red silk collar and a hat decorated with a brooch. A heavy necklace stands out on his white shirt. In a gesture of protection his right hand is on her shoulder and, at the same time, his left hand is on the hilt of his sword like any gentleman.

On the back wall, just behind the shoulders of the goldsmith, there are samples of his wares: earrings, rings, precious stones, silver jugs, liturgical gold-ware, a branch of red coral.

On the wooden table, next to the scales there are foreign coins, while the belt in the foreground, is the one that, according to tradition, is worn for the wedding ceremony.

On the right, a convex mirror, the so-called "eye of the witch", shows us the houses of Bruges and two passers-by carrying with them a trained bird of prey. A painting inside a painting by which Petrus Christus displays all his skill.

The artist, far from the mathematically rigorous definition space of Italian painting, manages to recreate the real world thanks to the inclusion of small details and the use of oil. Creating things as they appear, creates an illusion and erases any limit between time and space.

Image: 'The goldsmith's workshop' (1449) by Petrus Christus

Zodiac Signs in Art, October (Libra)
Artist: Petrus Christus 🇳🇱
Title: The goldsmith’s workshop
Date: 1449
Artwork Location: Metropolitan Museum, New York 🇺🇸
Medium: Oil on panel

Like the Tuscan painters of the fifteenth century, the Flemings of the same period carried out extensive research on the representation of reality through their interest in volume, spatiality, light. The light in Flemish painting, due to their use of oils, does not have the selectivity of that used by the Tuscan painters, but illuminates in the same way both the protagonists in the foreground and all the other objects, even those apparently insignificant. The goldsmith’s workshop is one of the best examples where reality is described in detail.

The city of Bruges was the commercial capital of the Duchy of Burgundy, it was a rich, multicultural city where they lived by trading in the rarest and most valuable goods.

A rich couple are inside a goldsmith’s shop to buy wedding rings, the goldsmiths were a great corporation and at the court of Burgundy gold represents the symbol of power. Wealth was not shameful, on the contrary, it was to be displayed.

The woman wears a gold brocade dress with pomegranate decoration, a two horned hat with silk veil, which was the height of fashion. With her left hand, she points at the ring.

He wears a blue silk velvet fur-lined jacket with a red silk collar and a hat decorated with a brooch. A heavy necklace stands out on his white shirt. In a gesture of protection his right hand is on her shoulder and, at the same time, his left hand is on the hilt of his sword like any gentleman.

On the back wall, just behind the shoulders of the goldsmith, there are samples of his wares: earrings, rings, precious stones, silver jugs, liturgical gold-ware, a branch of red coral.

On the wooden table, next to the scales there are foreign coins, while the belt in the foreground, is the one that, according to tradition, is worn for the wedding ceremony.

On the right, a convex mirror, the so-called "eye of the witch", shows us the houses of Bruges and two passers-by carrying with them a trained bird of prey. A painting inside a painting by which Petrus Christus displays all his skill.

The artist, far from the mathematically rigorous definition space of Italian painting, manages to recreate the real world thanks to the inclusion of small details and the use of oil. Creating things as they appear, creates an illusion and erases any limit between time and space.

Image: 'The goldsmith's workshop' (1449) by Petrus Christus

ART STORIA | Publishing House Literary Arts book of the month 📖'THE WAR OF THE WORLDS'by H. G. Wells, Foreword by Randy ...
03/09/2021
The War of the Worlds (ART STORIA | Literary Classics Annotated Edition)

ART STORIA | Publishing House
Literary Arts book of the month 📖

'THE WAR OF THE WORLDS'
by H. G. Wells, Foreword by Randy Sookanan, Edited by Denise K. McTighe, Cover Art by Ørjan Anmo Moen

Kindle:
https://www.amazon.ca/dp/B08QL45HDN
Paperback:
https://www.amazon.ca/dp/B08QM22XM5

About the Book:

The War of the Worlds is a science fiction novel by English author H. G. Wells. The novel is one of the most commented-on works in the science fiction canon. It is one of the earliest stories to detail a conflict between mankind and an extraterrestrial race. The novel is the first-person narrative of both an unnamed protagonist in Surrey and of his younger brother in London as southern England is invaded by Martians. When an army of invading Martians lands in England, panic, and terror seize the population. As the aliens traverse the country in huge three-legged machines, incinerating all in their path with a heat ray and spreading noxious toxic gases, the people of the Earth must come to terms with the prospect of the end of human civilization and the beginning of Martian rule.

From the Publisher:

ART STORIA | Literary Classics is a collection of influential books that have transformed storytelling and philosophical thinking while remaining relevant to the modern reader. Certain titles in the series are lesser-known, but all have had a great impact on forming entire genres and modes of thought. Our selected works are considered inception points for definitive narrative styles and writing techniques. In the realm of literary arts, some authors truly displayed ingenuity in their craft, and their stories and ideas have had an enduring cultural influence on humanity.

Our Literary Arts series is Annotated with Forewords, Introduction, Literary Critique, Historical Context and Contemporary Analysis. Each book cover features artwork made by a resident artist from our Galleria. They are available in Kindle eBook format and paperback editions through all international Amazon marketplaces.

The War of the Worlds (ART STORIA | Literary Classics Annotated Edition) eBook : Wells, H. G., Sookanan, Randy, McTighe, Denise K., Sookanan, Randy: Amazon.ca: Kindle Store

Zodiac Signs in Art, September (Virgo)Artist: Unknown 🇮🇹Title: Virgo Vestalis MaximaDate: Second quarter of 2nd cent. CE...
01/09/2021

Zodiac Signs in Art, September (Virgo)
Artist: Unknown 🇮🇹
Title: Virgo Vestalis Maxima
Date: Second quarter of 2nd cent. CE
Country: Rome, Roman National Museum, Baths of Diocletian, Chiostro piccolo della Certosa
Origin: Rome, Roman forum, House of Vestal Virgins, atrium
Medium: Greek Marble

THE SACRED VIRGINS

Once in contact with the world of the Greeks, the Romans abandoned their crude primitive religion acquiring new deities to which were added the oriental deities.

With so many new gods and cults, the common people remained tied to superstition and magic, while the richest in society either became curious or remained indifferent to these novelties.
Of the primitive religion remained the numerous traditional ceremonies linked to the history of Rome, the regulator of these ceremonies was the State that saw in these ceremonies not so much a religious faith as a manifestation of political loyalty. Emptied of all spiritual value, the Roman religion remained a civic duty.

The traditional official cult was held by the Pontifex Maximus who was elected for life and could be a politician. Among the various highly venerated priests were the Vestals, priestess custodians of the sacred fire in the temple of Vesta and subject to the authority of the Vestalis Maxima.

The institution of the cult of fire, with the creation of the sacred virgins as its custodians is attributed to Romulus, the first King of Rome, or perhaps to his successor, Numa Pompilius,

There were six Vestals. When one died, Pope Maximus would select twenty girls between the ages of 6 and 10, from good families, with no physical and moral defect, from amongst them he would chose one. In the ceremony of consecration Pope Maximus would give her the name of Amata, cut her hair which was then hung on a sacred plant. Of course the hair would grow back, all Vestals had to have very long hair. In the first ten years the Vestals learned their duties; in the next ten they performed their duties in the temple and for another ten years they taught novices. At the end of these thirty years (that is at the age of about 36-40 years) they could leave the convent and even get married; but few exercised this right and preferred to remain Vestals forever.

The oldest of them all had the title of Virgo Vestalis Maxima. The main duties of the Vestals were: to keep the sacred fire always alight, to go to the source to get water for religious uses, to cook a “mola salsa”, a kind of sacred pizza made with emmer flour and salt, used during the sacrifices. During these sacrificial rites the “mola salsa” disc was broken into small pieces and distributed to those present (they ate it) as an act of purification or the pieces were spread over the body of the sacrificial animal, hence the term "Immolate".

The Vestals had to pray for the health of all the Roman people, especially in dangerous times or when the State required it. They participated in public, religious and civil ceremonies, especially in the rites of atonement or purification. They had great privileges: they were emancipated women and had their own possessions, could make wills and enjoyed a good income. They had a chariot and horses, an official es**rt or bodyguard (Lictor) accompanied them; the Consul gave them precedence, their person was sacred and anyone who offended them could be condemned to death. They had the power of mercy over the condemned if met accidentally while they were led to ex*****on. At the circus and theatre they always had front row seats and when they died they had the privilege of being buried inside the city of Rome at the expense of the state.

Zodiac Signs in Art, September (Virgo)
Artist: Unknown 🇮🇹
Title: Virgo Vestalis Maxima
Date: Second quarter of 2nd cent. CE
Country: Rome, Roman National Museum, Baths of Diocletian, Chiostro piccolo della Certosa
Origin: Rome, Roman forum, House of Vestal Virgins, atrium
Medium: Greek Marble

THE SACRED VIRGINS

Once in contact with the world of the Greeks, the Romans abandoned their crude primitive religion acquiring new deities to which were added the oriental deities.

With so many new gods and cults, the common people remained tied to superstition and magic, while the richest in society either became curious or remained indifferent to these novelties.
Of the primitive religion remained the numerous traditional ceremonies linked to the history of Rome, the regulator of these ceremonies was the State that saw in these ceremonies not so much a religious faith as a manifestation of political loyalty. Emptied of all spiritual value, the Roman religion remained a civic duty.

The traditional official cult was held by the Pontifex Maximus who was elected for life and could be a politician. Among the various highly venerated priests were the Vestals, priestess custodians of the sacred fire in the temple of Vesta and subject to the authority of the Vestalis Maxima.

The institution of the cult of fire, with the creation of the sacred virgins as its custodians is attributed to Romulus, the first King of Rome, or perhaps to his successor, Numa Pompilius,

There were six Vestals. When one died, Pope Maximus would select twenty girls between the ages of 6 and 10, from good families, with no physical and moral defect, from amongst them he would chose one. In the ceremony of consecration Pope Maximus would give her the name of Amata, cut her hair which was then hung on a sacred plant. Of course the hair would grow back, all Vestals had to have very long hair. In the first ten years the Vestals learned their duties; in the next ten they performed their duties in the temple and for another ten years they taught novices. At the end of these thirty years (that is at the age of about 36-40 years) they could leave the convent and even get married; but few exercised this right and preferred to remain Vestals forever.

The oldest of them all had the title of Virgo Vestalis Maxima. The main duties of the Vestals were: to keep the sacred fire always alight, to go to the source to get water for religious uses, to cook a “mola salsa”, a kind of sacred pizza made with emmer flour and salt, used during the sacrifices. During these sacrificial rites the “mola salsa” disc was broken into small pieces and distributed to those present (they ate it) as an act of purification or the pieces were spread over the body of the sacrificial animal, hence the term "Immolate".

The Vestals had to pray for the health of all the Roman people, especially in dangerous times or when the State required it. They participated in public, religious and civil ceremonies, especially in the rites of atonement or purification. They had great privileges: they were emancipated women and had their own possessions, could make wills and enjoyed a good income. They had a chariot and horses, an official es**rt or bodyguard (Lictor) accompanied them; the Consul gave them precedence, their person was sacred and anyone who offended them could be condemned to death. They had the power of mercy over the condemned if met accidentally while they were led to ex*****on. At the circus and theatre they always had front row seats and when they died they had the privilege of being buried inside the city of Rome at the expense of the state.

🎨 John William Waterhouse's 'Lady of Shalott' (from medieval Arthurian legend) paintings 🖼John William Waterhouse (1849–...
30/08/2021

🎨 John William Waterhouse's 'Lady of Shalott' (from medieval Arthurian legend) paintings 🖼

John William Waterhouse (1849–1917) was an English painter known for working first in the Academic style and for then embracing the Pre-Raphaelite Brotherhood's style and subject matter. His artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

"The Lady of Shalott", an 1888 oil-on-canvas painting, is one of John William Waterhouse's most famous works. It depicts a scene from Tennyson's poem in which the poet describes the plight and the predicament of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an undisclosed curse in a tower near King Arthur's Camelot.

Waterhouse painted three versions of this character in 1888, 1894 and 1915.

1. First we see his 1888 work entitled "The Lady of Shalott" which is housed within The Tate Britain Gallery in London 🇬🇧

2. Secondly his 1894 "The Lady of Shalott Looking at Lancelot" which is on display at The Leeds City Art Gallery in England 🇬🇧.

3. And, finally, Waterhouse's third Lady Shalott as a subject painting which is named "I am Half-Sick of Shadows, said the Lady of Shalott". This one was completed in 1915 and is located at The Art Gallery of Ontario, Toronto 🇨🇦

#art #history #painting #johnwilliamwaterhouse #preraphaelite #brotherhood #kingarthur #medieval #legend #folklore #mythology #medievalart #oilpainting #canvas #london #england #toronto #canada

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ART STORIA | ASAG Journal

“The only true wisdom is in knowing you know nothing” - Socrates

ART STORIA (meaning 'Art History' in Italian) is a publisher of magazines, books and academic scholarship in both the English and Italian languages. The company showcases international writers and exhibits artists globally.

​ART STORIA | ASAG Journal is an arts & culture magazine surveying human ingenuity in the arts, the histories & the sciences. The Journal focuses on stories concerning lesser-known ideas, artifacts, places, and people from the past, all of which have all had an enduring cultural influence on humanity. Additionally, each issue spotlights select artists from around the globe with the intention to inspire further exhibition. The Journal's categories are organized to showcase a selected collection of general stories and analyses concerning significant subjects from the past to the present while remaining committed to inspiring learners to tackle topics from Antiquity to Contemporary times. Each section pertaining to Ideas, Arts & Artifacts, Places, and People are printed in-depth separately and periodically.

ASAG JOURNAL MISSION: Learn more, Teach more, Dig more...

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