Word: 17th
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Dates: during 1990-1999
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...modern world and the problem the Pope has with the modern world. The conflict boils down to different paths of reason and standards of truth. In Crossing the Threshold of Hope, John Paul locates the source of the great schism between faith and logic in the writings of the 17th century French philosopher Rene Descartes, particularly his assertion "Cogito ergo sum" (I think; therefore I am). The Pope points out that Descartes's formulation turned on its head St. Thomas Aquinas' 13th century pronouncement that existence comes before thought -- indeed, makes thought possible. Descartes could presumably have written "Sum ergo...
Wire, text by Suzanne Slesin and Daniel Rozensztroch (Abbeville; $29.95), traces the 300-year history of utilitarian and decorative wirework from that of 17th century Slovak tinkers to the factory-made implements of the early 20th century. Many of these varied and whimsical shapes, collected and attractively arranged by the editors, were last seen in Grandma's house. Singled out or clustered in more than 300 photos, these whisks, racks, beaters (egg and rug), cages, baskets, candelabrums and hand-held toasters are reminders of a stable domestic world now bent out of shape...
...Though only a fraction of these works survives, Poussin the draftsman rewards all the attention you can give him. This is so despite the fact that he never seems to have done a highly finished demonstration drawing, a show of virtuosity for others, such as was common among other 17th century artists. All his drawings were for his own use, memory aids or steps toward a finished composition, and they don't bother with seducing the eye. They are pragmatic expressions of the desire to understand a pose, a set of figures, or a structure of tonal relationships, bluntly...
...wrote to Chantelou, "will not, I am sure, delight your spirits less than the sight of the beautiful columns ... since the latter are only ancient copies of the former." One of his finest late paintings, Eliezer and Rebecca, 1649, was conceived in exactly this spirit. Nowhere, perhaps, in 17th century painting is there a more beautiful frieze of figures than this row of 13 women, whose poses combine classic dignity with a sharp sense of the vernacular. Gravity, surprise, curiosity, slight bewilderment -- a whole repertoire of expression is set forth in their faces and bodies, and by the time...
...formal, elevated representation of passion and thought. In this he was absolutely French -- the contemporary of Pierre Corneille, whose tragedies revolved around ideas of free will, exemplary virtue and conflicts between desire and duty, enacted by characters from a classical past who spoke ardently and directly to a 17th century audience. Rome made Poussin; but after him, Rome could no longer condescend to Paris. By the time of his death, he had helped create an irreversible shift in the cultural balance of Europe...