Word: roman
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Dates: during 1990-1999
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...latest plan is to rewrite History 10a to fulfill the Historical Studies B core requirements, while History 10b will fulfill Historical Studies A. The courses would be structured around three or four major ideas each semester, such as the conversion of the Roman empire to Christianity...
...recent masters from whom he learned so ! much, like Caravaggio and Annibale Carracci, and the dead ones to whom he owed even more, like Titian and Raphael; the enlightened patronage of such connoisseurs as Cassiano del Pozzo or Cardinal Barberini, for whom he painted his supreme utterance about Roman political virtue, The Death of Germanicus, 1628. Above all, there were the traces of ancient Rome, a buried organism whose disarrayed bones protruded everywhere: columns, capitals, broken herms, arches, battle sarcophaguses, furnishing Poussin with a repertoire of prototypes to which his imagination would ceaselessly return. Poussin had to live in Rome...
...never took antiquity for granted, as Italians were apt to. He always seems to have thought of it as a marvelous spectacle that he, as a foreigner, was privileged to behold. "Questo giovane ha una furia del diavolo," remarked Marino, introducing him to one Roman patron -- This young man has the fury of a devil. Furia didn't simply mean rage; it suggested a state of inspiration, of contact with primeval forces that lie below the surface of culture -- the war god's frenzy, the satyr's beastliness, the erotic abandon of the maenad...
...form's superego, the mode -- tragic, idyllic, epic, sacred. The Destruction of the Temple of Jerusalem, 1638, is such a painting. % Poussin based it on a classical source -- Flavius Josephus' account of the sack of Jerusalem by the Emperor Titus and his army. Its obvious formal prototype is the Roman battle sarcophagus, with figures arrayed in a frieze; its pictorial roots, expressed in the nobly articulated figures of enslaved Jews and conquering centurions, lie in Raphael. With its structure of color, bound by a repeated accent of red, with its perspective lines, its golden- section ratios, its echoes and reversals...
...longer mattered, at least from the viewpoint of painting, who won the Battle of Gaugamela, or which model was standing in for Phryne and which for Aspasia. In due course, movies like Spartacus and The Ten Commandments would satisfy the need once felt for Bible scenes, Greek agoras and Roman battles. What was left to painting was the here and now, and that was where Impressionism, child of Courbet's realism, came into its glory...