Word: aurelius
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...Though Aurelius Augustinus had won a bit of renown, he would surely be unknown to history were it not for the celebrated September day in A.D. 386 when he seemed to hear a child's singsong voice chanting "Tolle lege, tolle lege" (Take up and read, take up and read). Snatching the Bible, which he had once disdained, he read the first words his eyes fell upon: St. Paul's admonition in Romans 13 to abandon wanton living and "put on the Lord Jesus Christ." Instantly, he later wrote, "a light of certainty pierced my heart and all the shadow...
...film, TV and other ways of mass-circulating the visual icon he is not -- for commemorating the dead, illustrating religious myth or dogma and expressing social ideals. The aim and meaning of the work were rarely in doubt. With statues, good or bad, from garden gnome to Marcus Aurelius, you knew where you were...
Throughout his long life, and for 150 years after his death, George Stubbs (1724-1806) was known as a horse painter. Never mind the Parthenon frieze, the Marcus Aurelius, the equestrian portraits of Verrocchio or Donatello, or any of the rest of the vast repertory of equine imagery in Western art: horse painting, like "sporting" art generally, tends to be seen as a minor style of aesthetic tailoring, shaped to reflect the blunt amusements of a class not much liked by connoisseurs. Painters like Sir Alfred Munnings, who filled canvas after canvas with accurate replications of poised fetlocks and lobb...
...image of the hero on horseback -human intelligence bending brute nature to its command-was central to Renaissance art, and its main antique prototypes were the Marcus Aurelius, an equestrian statue in Pavia called the Re-gisole (long since destroyed) and the San Marco group. Almost all the major artists of the Renaissance, from Pisanello in the 15th century to Giambologna in the 16th, consulted the Venice horses; when Leonardo da Vinci was faced with the problem of designing a horseback monument to the Milanese warrior Gian Giacomo Trivulzio, he took them as his starting point, varying their massive poses...
...sculpture, the San Marco horses do not really equal the massive, noble modeling and sheer formal energy of the Marcus Aurelius. The curves of the horse at the Met are almost languid, its transitions smoother, the sense of muscular tension and vigor less commanding. But it is still magnificent, even in comparison with the other sculptures at the show; among these is a bronze horse's head from the Florence Archaeological Museum which, with its flaring, taut musculature, rhythmic neck folds and elegantly articulated mane, is the very essence of forceful Hellenistic realism...