Hans Holbein's 16th-century masterpiece, The Dance of Death, reminds its readers that no one, no matter their rank or position, can escape the great leveller, Death. In a foreboding series of woodcuts, Death, depicted as a skeleton, intrudes on the lives of people from every level of society, from the sailor to the judge, the ploughman to the king. By highlighting our common fate, Holbein exposes the folly of greed and ambition, and in doing so brings a corrupt and callous elite crashing back down to earth. In this darkly satirical update, Guardiancartoonist Martin Rowson sharpens and reshapes Holbein's vision for the 21st century. Death seizes the City banker by his braces and offers a light to the oligarch; it joins the surgeon in theatre and the Hollywood star on the red carpet. Filled with wit and doom-laden drama, Martin Rowson's The Dance of Deathis a masterful reimagining of a book which, in its uncompromising treatment of the rich and powerful, paved the way for the great, levelling craft of political cartooning.
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Two brothers. One a top FBI agent. The other a brilliant, twisted criminal. An undying hatred between them. Now, a perfect crime. And the ultimate challenge: Stop me if you can...
A discussion of Strindberg's dramatic methods and contemporary influence accompanies a translation of his modern masterpiece about conflicts between man and woman.
"The German choreographer Kurt Jooss (1901-1979) belonged to a generation of artists who grew up and matured between the two world wars. Jooss was a major innovator in dance and an active participant in Weimar culture. Suzanne K. Walther provides a brief political and cultural history of the Weimar Republic; an overview of dance and choreography during this period leads to a detailed account of the contributions of Rudolf von Laban to German dance and his early association and life-long friendship with Jooss. The author provides complete descriptions and analyses of the four extant Jooss ballets: Pavane on the Death of an Infanta, Big City, A Ball in Old Vienna, and the award-winning anti-war ballet The Green Table. It also provides a full assessment of Jooss's fundamental contributions to the development of German modern dance, his aesthetic legacy, his concern with the social and humanitarian issues of his time, and the lasting influence of his pedagogical methods."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Satire that warned of the dangers of the waltz and the immoral effect on women and young girls from their indulgence in this amusement.
John Fahey hovers ghostlike in the sound of almost every acoustic guitarist who came after him, from Leo Kottke to Jimmy Page. In essence, John Fahey is to the solo acoustic guitar what Jimi Hendrix was to the electric: the man whom all subsequent musicians had to listen to. Fahey made close to 40 albums between 1959 and his death in 2001, most of them featuring only his solo steel-string guitar. He fused elements of folk, blues, and experimental composition, taking familiar American sounds and recontextualizing them as something entirely new. His artistic voice transformed the cultural landscape of his time--and ours. Yet despite his stature as a groundbreaking visionary, Fahey's intentions--as a man and as an artist--remain largely unexamined. His memoir, How Bluegrass Music Destroyed My Life, was largely fiction; his liner notes were full of half-truths. John Fahey's real story has never been told--until now. Journalist Steve Lowenthal has spent years researching Fahey's life and music, talking with his producers, his friends, his peers, his wives, his business partners, and many others. He describes how Fahey introduced prewar blues records and the men who made them to a broader public; how his independent label Takoma set new standards; how he battled his demons, including stage fright, alcohol, and prescription pills; how he ended up homeless and mentally unbalanced; and how, despite his troubles, he managed to found a new record label, Revenant, that won Grammys and remains critically revered. This portrait of a troubled and troubling man in a constant state of creative flux is the compelling story of a great American outcast. John Fahey hovers ghostlike in the sound of almost every acoustic guitarist who came after him, from Leo Kottke to Jimmy Page. In essence, John Fahey is to the solo acoustic guitar what Jimi Hendrix was to the electric: the man whom all subsequent musicians had to listen to. Fahey made more than forty albums between 1959 and his death i
"This volume brings together new editions of both texts of John Lydgate's fifteenth-century poem, The Dance of Death, with related Middle English verse from the fourteenth and fifteenth centuries. It also includes a new translation of Lydgate's French source, the Danse macabre. Together, these poems showcase the power and versatility of the danse macabre motif, offering a vivid window into life and death in late medieval Europe. In these poems, we see Death itself help readers remember and process the fundamental paradox of death's universality yet irremediable specificity. In vivid, often grotesque, and darkly humorous terms, these poems ponder life's fundamental paradox: while we know that we all must die, we cannot imagine our own death"--
The Dance of Death By Hans Holbein With an introductory note by Austin Dobson Dance of Death, also called Danse Macabre (from the French language), is an artistic genre of late-medieval allegory on the universality of death: no matter one's station in life, the Dance of Death unites all. The earliest recorded visual example is from the cemetery of the Church of the Holy Innocents in Paris (1424-25). There were also painted schemes in Basel (the earliest dating from c.1440); a series of paintings on canvas by Bernt Notke, in Lubeck (1463); the initial fragment of the original Bernt Notke painting (accomplished at the end of the 15th century) in the St Nicholas' Church, Tallinn, Estonia; the painting at the back wall of the chapel of Sv. Marija na Skrilinama in the Istrian town of Beram (1471), painted by Vincent of Kastav; the painting in the Holy Trinity Church in Hrastovlje in Istria by John of Kastav (1490). There was also a Dance of Death painted in the 1540s on the walls of the cloister of St Paul's Cathedral, London with texts by John Lydgate, which was destroyed in 1549. The deathly horrors of the 14th century-such as recurring famines; the Hundred Years' War in France; and, most of all, the Black Death-were culturally assimilated throughout Europe. The omnipresent possibility of sudden and painful death increased the religious desire for penitence, but it also evoked a hysterical desire for amusement while still possible; a last dance as cold comfort. The danse macabre combines both desires: in many ways similar to the mediaeval mystery plays, the dance-with-death allegory was originally a didactic dialogue poem to remind people of the inevitability of death and to advise them strongly to be prepared at all times for death (see memento mori and Ars moriendi).
Elina Gertsman's multifaceted study introduces readers to the imagery and texts of the Dance of Death, an extraordinary subject that first emerged in western European art and literature in the late medieval era. Conceived from the start as an inherently public image, simultaneously intensely personal and widely accessible, the medieval Dance of Death proclaimed the inevitability of death and declared the futility of human ambition. Gertsman inquires into the theological, socio-historic, literary, and artistic contexts of the Dance of Death, exploring it as a site of interaction between text, image, and beholder. Pulling together a wide variety of sources and drawing attention to those images that have slipped through the cracks of the art historical canon, Gertsman examines the visual, textual, aural, pastoral, and performative discourses that informed the creation and reception of the Dance of Death, and proposes different modes of viewing for several paintings, each of which invited the beholder to participate in an active, kinesthetic experience.
Second volume is all illustrations, published at the same time, with the same title page, but different spine title. Second volume contains all but one of the illustrations from the main work.
- Author : Anonim
- Publisher : Slatkine
- Release Date : 1975
- Genre : Uncategorized
- Pages : 231
- ISBN : 9876543210XXX
The Dance of Death by the German artist Hans Holbein is a great, grim triumph of Renaissance woodblock printing. In a series of action-packed scenes, Death intrudes on the everyday lives of people from various levels of society, from pope to physician to ploughman.
- Author : Anonim
- Publisher : BRILL
- Release Date : 2021-04-06
- Genre : Literary Criticism
- Pages : 296
- ISBN : 9789004442603
This book combines a scholarly edition of Lydgate’s Dance of Death and the French Danse Macabre poem, and discusses their wider context and historical circumstances of their creation, authorship and visualisation.
- Author : Francis Douce
- Publisher : Unknown
- Release Date : 1833
- Genre : Dance of Death
- Pages : 262
- ISBN : OXFORD:N10262594