TED-Ed | History's "worst" nun on Behance. Before Sister Wendy Beckett, Italian Renaissance Nuns Shaped Art History. As they slowly emerge, artworks by nuns have been summarized by a derisive umbrella term: Nonnenarbeiten (German for “nuns’ works”). “We would never assign a Sacra conversatione [a type of devotional painting depicting the Virgin and Child] by Fra Angelico and a portrait by Fra Filippo Lippi to the same genre simply because both happen to have been painted by friars,” art historian Jeffrey F. Hamburger writes in his book Nuns as Artists (1997). “Far from providing an apt, let alone productive, characterization of the images it seeks to define, Nonnenarbeit stands by definition for deficiency: a lack of both skill and sophistication.”
The term also neglects that these devotional images were, in their time, considered intellectual arts. Recently, a group of scholars has argued that these works deserve a closer look. Sor Juana Inés de la Cruz’s 366th Birthday. Conserving Dürer’s Triumphal Arch: Getting the big picture – The British Museum Blog. Melanie Malherbe filming the reconstruction. Once we had finished washing all of the sheets (which you can read about in the previous blog) we laid them out to get an impression of what the print looked like as a whole. A few sheets were then singled out for more cleaning due to ingrained dirt. Having established a tradition of experimenting with unusual tools, we used very fine cosmetic brushes (intended for cleaning nose pores on humans) that are softer than a squirrel’s tail.
Conservators Jude Rayner, Caroline Barry and Sam Taylor comparing sheets of the Triumphal Arch. The washing process presented a good opportunity to reduce some of the creases by gently brushing the wet sheets flat between thin, non-woven polyester layers. Re-sizing one of the sheets. To help strengthen the paper after washing and to make sure it is fit for study and viewing for at least a century, we applied a sizing solution through protective tissue with a soft goat’s hair brush, ensuring an even application. Sor Juana. Vistas: Gallery: Biombo Portraying a View of the Palace of the Viceroy in Mexico City. Sor Juana Inès de la Cruz | Women in European History.
Dr. Jennifer Palmer 23 March 2017 Sor Juana Inès de la Cruz Sor Juana Inès de la Cruz was born in New Spain, year 1651. Although Sor Juana’s life and work unfolded in Mexico, this geographic fact is secondary to her location in history. To understand the attitude towards women’s education which dominated New Spain in the seventeenth century, the shifting climate of women’s knowledge will be traced from the Medieval period. Following the Medieval period, the thirteenth century saw the creation of universities and thus a new beginning of institutionalized knowledge.
Here, we see a university in the 14th century. The next great shift in European culture, the Protestant Reformation, had its own implications for women’s education. Religious and university led education did not provide a space for women like Sor Juana. A gilded illustration of the Viceregal Court in Nueva España All this comes to fruition most explicitly in Sor Juana’s famed Repuesta. Annotated Bibliography: Paz, Octavio.
Relig[io]sa gero[ni]ma Sor Juana Ines de la [Cruz] ... - JCB Archive of Early American Images. Youtube. Neptuno Alegórico , reproducción. Arco Triunfal para recibir al Marqués de... - Sor Juana Inés de la Cruz. Fama y obras póstumas - Universitätsbibliothek Bielefeld: Digitale Sammlungen. Sor Juana Inés de la Cruz: Religion, Art, and Feminism - Pamela Kirk, Pamela Kirk Rappaport - Google Books. 18743 43668 1 PB. Book review: “Sor Juana’s Love Poems/Poemas De Amor” by Sor Juana Ines de La Cruz, translated by Joan Larkin & Jaime Manrique.
On one of the first pages of Leo Tolstoy’s Anna Karenina, Dolly Oblonsky is packing to leave her womanizing husband and is described as taking something out of an open chest of drawers. That’s how one translation has it, but, while researching a story about translations for the Chicago Tribune, I had occasion to compare this scene in six English language versions of the masterpiece. What I found was that other translators identified this piece of furniture differently — variously, as an open bureau, as an open wardrobe, and as an open chiffonier. In the original Russian, it was the same word, but it was transformed into English in these four different ways. Translation is always a dicey proposition. And, if one Russian word for a piece of furniture can result in such varied responses by translators, how much greater variance is implicit in the translation of poetry? What must Shakespeare’s plays read like in French?
A translated poem requires the same work by the reader. “Beautiful girl” 2011 Conference on Sor Juana Inés de la Cruz: Her Work, Colonial Mexico, and Spain's Golden Age. Wardman Library databases & journals for off-campus access. Sor Juana Fecit: Sor Juana Inés de la Cruz and the Art of Miniature Painting on JSTOR. Las monjas coronadas. Vida conventual femenina. SLC "Sor Juana Inés de la Cruz" by Xánath Caraza. Portrait of Sister Juana Inés de la Cruz.