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Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Lamentation over the dead Christ - Beweinung Christi ("Glimsche Beweinung") (1500) - Oil on spruce wood 151.9 x 121.6 cm - Alte Pinakothek Munich
L'opera fu commissionata dall'orafo Albrecht Glimm in memoria della prima moglie Margareth Holzmann, morta nel 1500. Una ridipintura, asportata nel 1924, ha rimesso in luce agli angoli le figure dei donatori (l'uomo e i tre figli) e della donna scomparsa, piccolissime rispetto ai soggetti sacri. Più che alla somiglianza fisiognomica l'individuazione dei committenti era per lo più affidata agli stemmi araldici che essi hanno vicini.
Il dipinto mostra il Gesù morto, tenuto in braccio da Giuseppe d'Arimatea e circondato dalle pie donne, tra cui una Maria anziana e sconvolta. Nella parte destra sono raffigurati tre personaggi in piedi su una linea diagonale: dall'alto, San Giovanni Evangelista, Maria Maddalena e Nicodemo, questi ultimi reggono due vasi contenenti i balsami utilizzati per preparare il cadavere alla sepoltura.
The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500. The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three sons) and of the dead woman, depicted in far smaller proportions than the religious characters.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
“There is no other universe except the human universe, the universe of human subjectivity. This relation of transcendence as constitutive of man (not in the sense that God is transcendent, but in the sense of self-surpassing) with subjectivity (in such a sense that man is not shut up in himself but forever present in a human universe) - it is this that we call existential humanism. This is humanism, because we remind man that there is no legislator but himself; that he himself, thus abandoned, must decide for himself; also because we show that it is not by turning back upon himself, but always by seeking, beyond himself, an aim which is one of liberation or of some particular realisation, that man can realize himself as truly human."
—JP Sartre
Hier, ob oben in der Burg oder eher unten im kleinen Städtchen, soll Petrarca lange gelebt und geschrieben haben. Ich könnte mir das schon vorstellen, so wild und einsam, wie der Ort einst gelegen haben muss. Dazu noch der geheimnisvolle Quelltopf der Sorgue, der die Fantasie eines jeden Betrachters zu Höchstleistungen antreibt.
Their journey, they saw, had never been about wealth or dominion. These were illusions, skins shed in the tide of existence. What endured was the more profound call, the pursuit of meaning that only life's raw, unadorned connections could offer. Success was transient. Their connection was eternal.
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The Medici were maybe the most influential Italian family from 13th to 17th century. The family produced three Popes (Leo X, Clement VII and Leo XI), numerous Lords of Florence (notably Lorenzo the Magnificent) and later members of the French and English royal families. They strongly kept Florence and Tuscany under their rule, with an illuminated gouvernment where art and humanism flourished in an unsurpassed way. They were among the real fathers of the Renaissance of Italy, and consequently of the whole Western world.
Medici's family originated from Mugello, a valley about 20-30 miles north of Florence, toward Bologna and the Padan plains. They ever remained strongly tied to this wonderful land, and to three fortresses they owned there: the Fortress of Saint Martin, the Villa of Cafaggiolo, and the Castle of Trebbio. These stunning fortresses rise very near one another at 2-3 miles apart and forms an incredible and huge triangle of Medioeval beauty. This photo shows the third one and smallest of them: a real jewel in a marvellous land.
By the way...20 minutes drive from my house.... ;-)))
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Betende Maria - Mary in prayer (1518) - oil on lime wood panel 54.9 x 45.3 cm - Gemäldegalerie, Berlin
Maria è ritratta a mezzo busto con le mani giunte in preghiera e lo sguardo, dolce e un po' patetico, rivolto di tre quarti a sinistra. Il tradizionale velo blu è foderato di lucida stoffa arancione (un colore molto raro che si trovava solo nell'emporio di Venezia), e lascia trasparire maniche rosa, bordate a pighette, e una cuffia bianca che si allunga fino al petto. A questo già sfolgorante insieme cromatico vano poi aggiunti il verde e il rosso dello sfondo, che avvicinano l'opera alla più smagliante tradizione veneta. La luce è dorata e inonda il volto di Maria, piuttosto idealizzato, creando una dimensione di religioso raccoglimento.
Maria is portrayed half-length with her hands folded in prayer and her gaze, sweet and somewhat pathetic, turned three quarters to the left. The traditional blue veil is lined with shiny orange fabric (a very rare color that was only found in the emporium of Venice), and reveals pink sleeves, edged with pighettes, and a white cap that stretches up to the chest. To this already blazing chromatic ensemble, the green and red of the background are added, which bring the work closer to the most brilliant Venetian tradition. The light is golden and floods the rather idealized face of Mary, creating a dimension of religious recollection.
Wikipedia: Ludvig Holberg, Baron of Holberg (December 3, 1684 – January 28, 1754) was a writer, essayist, philosopher, historian and playwright born in Bergen, Norway, during the time of the Dano-Norwegian double monarchy, who spent most of his adult life in Denmark. He was influenced by Humanism, the Enlightenment and the Baroque. Holberg is considered the founder of modern Danish and Norwegian literature, and is best known for the comedies he wrote in 1722–1723 for the Lille Grønnegade Theatre in Copenhagen. Holberg's works about natural and common law were widely read by many Danish law students over two hundred years, from 1736 to 1936.
Holberg was well-educated and well-traveled. In his adolescence, he visited large cities in countries such as The Netherlands and France, and lived for a short period of time in Rome; and for a longer period of time in Oxford, England (1706–1708), which was rare during that time as intellectual life was centered in continental Europe. He was not formally admitted to Oxford University, but spent his time there using the libraries and participating in Latin discussions with the English students.
Humanistic Mystic Movement - New Symbol by Daniel Arrhakis (2024)
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The Prophets of Ion / Ion Mystical World is a humanistic and artistic theosophical movement created by Daniel Arrhakis in 2016 whose main objective is to defend natural spirituality as a constitutive dimension of the human being and its balance with the natural world and the universe of which we are all part.
This movement aims to contribute to an inclusive and more shared future using mystical and scientific knowledge, art and the protection of nature as the main bases to transform the world into a more shared spiritual and humanized economy, in which the progress of society and the preservation of nature can coexist.
It also has a more practical and socio-political sense through the Humanistic Mystic Movement created in 2018, that begun with some artists and wants to promote the discussion of mystic themes for a different vision of our contemporary society.
The scientific and humanistic education is thus linked to spirituality with the recognition of man as a spiritual being (independent of religion or creed in which he believes).
In this concept, the Spiritual Man is a promoter of a more inclusive, participatory, environmentally friendly, but also humanistic society. One cannot conceive of a humanism without its intrinsic natural spirituality.
This movement is also for those Resistants who struggle with Art, Words, Tolerance, Sharing, Faith, Courage and Love in their hearts to make a difference in favor of a Spirituality with respect for Democracy and Freedom.
If the Prophets of Ion and Ion Mystical World are the mystical dimension, the Humanistic Mystical Movement is the socio-political and spiritual dimension of the transformation of the World through art, knowledge and spirituality.
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Os Profetas de Ion é um movimento teosófico humanístico e artístico criado por Daniel Arrhakis em 2016 cujo principal objetivo é defender a espiritualidade natural como dimensão constitutiva do ser humano e o seu equilíbrio com o mundo natural e o universo do qual todos fazemos parte.
Este movimento visa contribuir para um futuro inclusivo e mais compartilhado utilizando o conhecimento místico e científico, a arte e a proteção da natureza como bases para transformar o mundo em uma economia espiritual e humanizada mais compartilhada, na qual o progresso da sociedade e a preservação da natureza possa coexistir.
Tem também um sentido mais prático e sociopolítico através do Movimento Místico Humanista criado em 2018, que começou com alguns artistas e pretende promover a discussão de temas místicos para uma visão diferente da nossa sociedade contemporânea.
A educação científica e humanística está assim ligada à espiritualidade com o reconhecimento do homem como ser espiritual (independente da religião ou credo em que acredita).
Neste conceito, o Homem Espiritual é promotor de uma sociedade mais inclusiva, participativa, amiga do ambiente, mas também humanista. Não se pode conceber um humanismo sem sua espiritualidade natural intrínseca.
Este movimento é também para aqueles Resistentes que lutam com Arte, Palavras, Tolerância, Compartilhamento, Fé, Coragem e Amor em seus corações para fazer a diferença em favor de uma Espiritualidade com respeito pela Democracia e a Liberdade.
Se os Profetas de Íon e O Mundo Místico De Ion são a dimensão mística, o Movimento Místico Humanístico é a dimensão sociopolítica e espiritual da transformação do Mundo através da arte, do conhecimento e da espiritualidade.
Beginning in 1570, Strasbourg opened its Christmas Market around its prestigious Cathedral. Since that time, its reputation in Europe has only increased, thanks to its merchant tradition as well as its spirit of tolerance and humanism that constitute its history and identity.
Seit 1570 findet der Straßburger Weihnachtsmarkt rund um das prächtige Münster statt. Seitdem wurde er in Europa von Jahr zu Jahr bekannter und größer, nicht nur dank der Verkaufstraditionen, sondern vor allem dank der Weltoffenheit und des Humanismus, welche die Geschichte und die Identität der Stadt kennzeichnen.
Depuis 1570 Strasbourg déploie son marché de Noël autour de sa prestigieuse Cathédrale. Depuis, son rayonnement en Europe n’a fait que croître, grâce à sa tradition de commerce et à son esprit de tolérance et d’humanisme, qui font son histoire et son identité.
Oh by the way - this is humour :)
Elinchrom BRX 500 x 2 right and left with strips.
Dlite one with beauty dish front above.
"Basel Minster (German: Basler Münster) is a religious building in the Swiss city of Basel, originally a Catholic cathedral and today a Reformed Protestant church.
The original cathedral was built between 1019 and 1500 in Romanesque and Gothic styles. The late Romanesque building, destroyed by the 1356 Basel earthquake, was rebuilt by Johannes Gmünd, who was at the same time employed for building the Freiburg Münster. Ulrich von Ensingen, architect of the towers at the Ulm Minster and the Strasbourg Cathedral, extended the building from 1421. Hans von Nußdorf completed the southern tower in 1500.
One of the main landmarks and tourist attractions of Basel, it adds definition to the cityscape with its red sandstone architecture and coloured roof tiles, its two slim towers and the cross-shaped intersection of the main roof. The Swiss inventory of cultural property of national and regional significance lists the Münster as a heritage site of national significance.
Basel (/ˈbɑːzəl/ BAH-zəl, German: [ˈbaːzl̩]) or Basle (/bɑːl/ BAHL; French: Bâle [bɑl]; Italian: Basilea [baziˈlɛːa]; Romansh: Basilea [baziˈleːa]) is a city in northwestern Switzerland on the river Rhine. Basel is Switzerland's third-most-populous city (after Zürich and Geneva) with about 180,000 inhabitants. The official language of Basel is (the Swiss variety of Standard) German, but the main spoken language is the local Basel German dialect.
Basel is commonly considered to be the cultural capital of Switzerland. The city is famous for its many museums, ranging from the Kunstmuseum, the first collection of art accessible to the public in the world (1661) and the largest museum of art in Switzerland, to the Fondation Beyeler (located in Riehen) and the Museum of Contemporary Art (Basel), the first public museum of contemporary art in Europe. Forty museums are spread throughout the city-canton, making Basel one of the largest cultural centres in relation to its size and population in Europe.
The University of Basel, Switzerland's oldest university (founded in 1460), and the city's centuries-long commitment to humanism, have made Basel a safe haven at times of political unrest in other parts of Europe for such notable people as Erasmus of Rotterdam, the Holbein family, Friedrich Nietzsche, and in the 20th century also Hermann Hesse and Karl Jaspers.
Basel has been the seat of a Prince-Bishopric since the 11th century, and joined the Swiss Confederacy in 1501. The city has been a commercial hub and an important cultural centre since the Renaissance, and has emerged as a centre for the chemical and pharmaceutical industries in the 20th century. In 1897, Basel was chosen by Theodor Herzl as the location for the first World Zionist Congress, and altogether the congress has been held there ten times over a time span of 50 years, more than in any other location. The city is also home to the world headquarters of the Bank for International Settlements. The name of the city is internationally known through institutions like the Basel Accords, Art Basel and FC Basel.
In 2019 Basel, was ranked among the ten most liveable cities in the world by Mercer together with Zürich and Geneva." - info from Wikipedia.
During the summer of 2018 I went on my first ever cycling tour. On my own I cycled from Strasbourg, France to Geneva, Switzerland passing through the major cities of Switzerland. In total I cycled 1,185 km over the course of 16 days and took more than 8,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Bildnis eines Mädchens mit rotem Barett - Portrait of a girl with a red cap (1507) - parchment on wood 32.5 x 22.3 cm - Gemäldegalerie, Berlin
Il ritratto, che fu probabilmente dipinto immediatamente dopo il ritorno di Dürer da Venezia nel 1507, raffigura una giovane donna vestita alla maniera tedesca. Il berretto indossato con una leggera inclinazione le dà un'espressione sfacciata. La limitazione dei colori dell'abbigliamento al rosso fragola e al verde intenso, che formano un efficace contrasto con i toni della pelle e dei capelli, conferiscono a questa foto un fascino particolare. I gioielli sul berretto, costituiti da un rubino e una perla, significano ricchezza e un alto rango sociale; i capelli scoperti mostrano lo status della ragazza come vergine non sposata ma non vi è alcun riferimento specifico all'identità della ragazza ritratta
The portrait, which was probably painted immediately after Dürer's return from Venice in 1507, depicts a young woman dressed in the German manner. The cap worn with a slight inclination gives it a cheeky expression. The limitation of the colors of the clothing to strawberry red and intense green, which form an effective contrast with the skin and hair tones, give this photo a particular charm. The jewels on the cap, consisting of a ruby and a pearl, signify wealth and a high social rank; the uncovered hair shows the status of the girl as an unmarried virgin but there is no specific reference to the identity of the girl portrayed
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Portrait of Albrecht Dürer the Elder (around 1490) - oil on panel 47 × 39 cm - Uffizi Gallery - Florence
L'opera è siglata e datata 1490, ma si pensa che tale indicazione sia stata aggiunta in epoca successiva.
Il ritratto venne probabilmente eseguito alla vigilia della partenza dell'artista da Norimberga, diretto nelle città renane e nei Paesi Bassi, ed è una delle sue prime prove pittoriche conosciute.
The work is signed and dated 1490, but this indication is thought to have been added in the following period.
The portrait was probably made on the eve of the artist's departure from Nuremberg, headed for the Rhine cities and the Netherlands, and is one of his first known pictorial proofs.
When 80.000 People in Vienna went to participate in the demonstration for democracy, humanism and solidarity and against the extremist right
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Madonna with carnation - Die Muttergottes mit der Nelke (1516) - Parchment on lime wood 39.7 x 29.3 cm - Alte Pinakothek Munich
Questo insolito quadro è registrato come già presente nella galleria privata dell'elettore Massimiliano I. nel 1607. L'estrema frontalità della Madonna ricorda le prime icone della Vergine. Il garofano è un simbolo della Passione di Cristo
This unusual picture is recorded as having already been in the private gallery of elector Maximilian 1st. in 1607. The extreme frontality of the Madonna is reminiscent of early icons of the Virgin. The carnation is a symbol of the Passion of Christ
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Portrait of a Venetian (1506) - oil on poplar panel 29 × 22 cm - Gemäldegalerie, Berlin
L'opera viene datata, per analogia stilistica con il Ritratto di giovane veneziana a Vienna, al secondo soggiorno veneziano di Dürer, probabilmente al 1506, a giudicare dall'assorbimento più marcato, rispetto all'altra opera, del tonalismo della scuola locale.
A lungo si è ritenuto, senza reale fondamento, che l'opera ritraesse la moglie di Dürer, Agnes Frey, pur non essendo somigliante agli altri ritratti noti della donna. Piuttosto le iniziali dell'effigiata dovrebbero essere E e S, leggibili al centro della fascia ricamata alla base della scollatura. Alle estremità della stessa, in caratteri maiuscoli, si vede anche le iniziali del pittore A e D, che compaiono anche nel celebre monogramma nell'angolo superiore sinistro.
The work is dated, by stylistic analogy with the Portrait of a young Venetian in Vienna, to Dürer's second Venetian stay, probably in 1506, judging by the more marked absorption, compared to the other work, of the tonality of the local school.
For a long time it was believed, without real foundation, that the work portrayed Dürer's wife, Agnes Frey, although not resembling the other known portraits of the woman. Rather the initials of the effigiate should be E and S, legible in the center of the band embroidered at the base of the neckline. At the ends of the same, in capital letters, you can also see the initials of the painter A and D, which also appear in the famous monogram in the upper left corner.
Built in 1853 at 12 Freie Strasse, this Neo-Gothic structure was expanded in 1881 to Rüdengasse. The expansion was directed by the Vienna cathedral builder Friedrich von Schmidt.
Information from: de.wikipedia.org/wiki/Hauptpost_(Basel)
Basel, also known as Bâle in French and Basilea in Italian, is a city in northwestern Switzerland on the Rhine. Basel is Switzerland's third-most-populous city (after Zürich and Geneva), with roughly 178,000 inhabitants within the city municipality limits in the 2020s. The official language of Basel is (the Swiss variety of Standard) German, and the main spoken language is the local Basel German dialect.
Basel is commonly considered to be the cultural capital of Switzerland and the city is famous for its many museums, including the first collection of art accessible to the public in the world (1661) and the largest museum of art in Switzerland. The University of Basel, Switzerland's oldest university (founded in 1460), and the city's centuries-long commitment to humanism, have made Basel a safe haven at times of political unrest in other parts of Europe for refugees and dissidents.
Information from: en.wikipedia.org/wiki/Basel
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Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Die Madonna mit dem Zeisig - Madonna del Lucherino (1506) - oil on poplar panel 91x76 cm - Gemäldegalerie, Berlin
L'opera risale al secondo soggiorno dell'artista a Venezia ed è molto vicino alla festa del Rosario, del quale sembra un ritaglio della parte centrale con varianti. In particolare, sia la posa degli angioletti svolazzanti sia il moto centrifugo del bambino sembrano ricordare la grande pala dove il bambinello, con lo stesso movimento plastico, incorona il papa.
The work dates back to the artist's second stay in Venice and is very close to the feast of the Rosary, of which it seems a cut out of the central part with variations. In particular, both the pose of the fluttering angels and the centrifugal motion of the child seem to recall the large altarpiece where the little boy, with the same plastic movement, crowns the pope.
I don't love you as if you were the salt-rose, topaz
or arrow of carnations that propagate fire:
I love you as certain dark things are loved,
secretly, between the shadow and the soul.
I love you as the plant that doesn't bloom and carries
hidden within itself the light of those flowers,
and thanks to your love, darkly in my body
lives the dense fragrance that rises from the earth.
---- Pablo Neruda
Photo: Firoz Ahmad Firoz,
Grasia brother & sister, Desuri, Rajasthan, India
Les tours de Castillon sont un site archéologique situé à Paradou (Bouches-du-Rhône) sur la chaîne de la Pène (massif des Alpilles). Le site a été habité entre le IIe siècle av. J.-C. et le XVe siècle, avec un maximum de population entre les XIIIe et XIVe siècles. Il a ensuite été abandonné par ses habitants qui sont allés peupler le nouveau village à quelques centaines de mètres plus au nord, dénommé aujourd'hui Paradou.
Des fouilles archéologiques récentes ont permis de reconstituer l'histoire de cet oppidum. Le site peut être visité aujourd'hui. On y observe la présence de trois tours encore debout datant du Moyen Âge et qui marquaient les limites de la ville ancienne. Le rempart a disparu dans sa quasi-totalité. Des fouilles archéologiques y ont été menées entre 1986 et 1990 et ont révélé l'existence de cet oppidum très détérioré par le temps et les fouilles clandestines1.
Histoire
Antiquité
Le site des tours de Castillon a dominé durant des siècles une vaste étendue marécageuse, dénommée les marais des Baux et dont il constituait la frontière nord. Son emplacement par rapport à ce marais n'est pas anodin. Il se situe au-dessus d'un point de franchissement des marais, le pont Saint-Jean2, sur le chaînon de collines de La Pène, à 41 mètres d'altitude.
Propriété des seigneurs des Baux au Moyen Âge, le site est habité depuis bien plus longtemps2. Les premières traces d'occupation semblent remonter au IIe siècle av. J.-C.1, même si des tessons retrouvés pourraient être plus anciens de deux à trois siècles. L'oppidum n'est fortifié qu'à partir du IIe siècle av. J.-C., période à laquelle il s'entoure d'un mur en brique crue sur un socle de pierres sèches large de 1,50 mètre3. Le parement en grand appareil est postérieur à ce premier rempart mais date approximativement de la même période ou au plus tard de la période augustéenne1. Contre le rempart, des cases à brique crues sur solin de pierres sont appuyées. Le rempart a beaucoup souffert. Ses blocs ont été prélevés au Moyen Âge pour permettre la construction de divers ouvrages. On considère qu'il devait se trouver deux portes au castrum, au nord et au sud, même s'il n'a pas été possible d'en apporter la preuve à ce jour4. Les pierres utilisées viennent probablement des Alpilles. Il s'agit d'un calcaire burdigalien typique des Baux ou du Montpaon4. Le premier rempart devait être en briques crues, comme le mur des maisons du castrum, tandis que le second rempart, de moindre qualité, était fait d'adobes.
Il existe des traces d'un incendie qui a probablement détruit le village entre la fin du IIe et le début du Ier siècle. Toujours est-il que, s'il a sans doute été inhabité à ce moment, le site compte à nouveau une certaine population au début de l'époque romaine1.
Une chaussée antique a été repérée par des vues aériennes mais n'a pas encore été datée, même si on peut sans doute l'estimer d'époque romaine4.
Moyen Âge
Quartier d'habitation médiéval.
À l'origine propriété de l'abbaye de Montmajour, le site des Tours de Castillon devient possession du seigneur des Baux entre le XIe siècle et le XIIe siècle5. Le site permet de par sa position d'être en communication permanente avec le château des Baux et de contrôler la voie de communication traversant le marais des Baux et menant à la plaine de la Crau. Les sources écrites mentionnent le château au XIIe siècle. Aux XIIIe et XIVe siècles, un rempart enserre la colline. Les angles sont dans un premier état occupés par des tours carrées renforcées par la suite par des tours curvilignes et des lices en avant6. Un petit quartier d'habitation a été fouillé entre 1986 et 1990. Dans cette zone, l'habitat prend de l'ampleur au XIVe siècle et subit de nombreuses modifications durant son occupation. Des silos, des caves et des citernes ont été identifiées. L'abandon est opéré progressivement dans les dernières années du XIVe siècle7.
Nécropole
La nécropole découverte sur le versant sud-est du site des tours de Castillon, regardant vers les marais des Baux, a révélé la présence de cinq corps sans doute datés du Moyen Âge. Seuls les sexes de trois de ces corps ont pu être identifiés : il s'agit de deux hommes et d'une femme. Les corps étaient à l'intérieur de sépultures en decubitus dorsal, les bras en adduction et les jambes en extension. Ce sont tous des adultes, entre 21 et 45 ans et ils mesurent entre 1,61 cm et 1,73 cm, ce qui constituent des tailles élevées8.
Provence (/prəˈvɒ̃s/, US: /proʊ-/; French: [pʁɔvɑ̃s]; Provençal: Provença in classical norm or Prouvènço in Mistralian norm, pronounced [pʀuˈvɛnsɔ]) is a geographical region and historical province of southeastern France, which extends from the left bank of the lower Rhône to the west to the Italian border to the east, and is bordered by the Mediterranean Sea to the south.[1] It largely corresponds with the modern administrative region of Provence-Alpes-Côte d'Azur and includes the departments of Var, Bouches-du-Rhône, Alpes-de-Haute-Provence, as well as parts of Alpes-Maritimes and Vaucluse.[2] The largest city of the region is Marseille.
The Romans made the region the first Roman province beyond the Alps and called it Provincia Romana, which evolved into the present name. Until 1481 it was ruled by the Counts of Provence from their capital in Aix-en-Provence, then became a province of the Kings of France.[2] While it has been part of France for more than five hundred years, it still retains a distinct cultural and linguistic identity, particularly in the interior of the region.[3]
History
Main article: History of Provence
See also: Lower Burgundy
Prehistoric Provence
The entrance to the Cosquer Cave, decorated with paintings of auks, bison, seals and outlines of hands dating to 27,000 to 19,000 BC, is located 37 meters under the surface of the Calanque de Morgiou near Cassis.
A bronze-age dolmen (2500 to 900 BC) near Draguignan
The coast of Provence has some of the earliest known sites of human habitation in Europe. Primitive stone tools dating back 1 to 1.05 million years BC have been found in the Grotte du Vallonnet near Roquebrune-Cap-Martin, between Monaco and Menton.[4] More sophisticated tools, worked on both sides of the stone and dating to 600,000 BC, were found in the Cave of Escale at Saint Estėve-Janson, and tools from 400,000 BC and some of the first fireplaces in Europe were found at Terra Amata in Nice.[5] Tools dating to the Middle Paleolithic (300,000 BC) and Upper Paleolithic (30,000–10,000 BC) were discovered in the Observatory Cave, in the Jardin Exotique of Monaco.[6]
The Paleolithic period in Provence saw great changes in the climate. Two ice ages came and went, the sea level changed dramatically. At the beginning of the Paleolithic, the sea level in western Provence was 150 meters higher than today. By the end of the Paleolithic, it had dropped to 100 to 150 metres below the sea level today. The cave dwellings of the early inhabitants of Provence were regularly flooded by the rising sea or left far from the sea and swept away by erosion.[7]
The changes in the sea level led to one of the most remarkable discoveries of signs of early man in Provence. In 1985, a diver named Henri Cosquer discovered the mouth of a submarine cave 37 metres below the surface of the Calanque de Morgiou near Marseille. The entrance led to a cave above sea level. Inside, the walls of the Cosquer Cave are decorated with drawings of bison, seals, auks, horses and outlines of human hands, dating to between 27,000 and 19,000 BC.[8]
The end of the Paleolithic and beginning of the Neolithic period saw the sea settle at its present level, a warming of the climate and the retreat of the forests. The disappearance of the forests and the deer and other easily hunted game meant that the inhabitants of Provence had to survive on rabbits, snails and wild sheep. In about 6000 BC, the Castelnovian people, living around Châteauneuf-les-Martigues, were among the first people in Europe to domesticate wild sheep, and to cease moving constantly from place to place. Once they settled in one place they were able to develop new industries. Inspired by pottery from the eastern Mediterranean, in about 6000 BC they created the first pottery made in France.[7]
Around 6000 BC, a wave of new settlers from the east, the Chasséens, arrived in Provence. They were farmers and warriors, and gradually displaced the earlier pastoral people from their lands. They were followed about 2500 BC by another wave of people, also farmers, known as the Courronniens, who arrived by sea and settled along the coast of what is now the Bouches-du-Rhône.[7] Traces of these early civilisations can be found in many parts of Provence. A Neolithic site dating to about 6,000 BC was discovered in Marseille near the Saint-Charles railway station. and a dolmen from the Bronze Age (2500–900 BC) can be found near Draguignan.
Ligures and Celts in Provence
Between the 10th and 4th century BC, the Ligures were found in Provence from Massilia as far as modern Liguria. They were of uncertain origin; they may have been the descendants of the indigenous Neolithic peoples.[9] Strabo distinctly states they were not of Celtic origin and a different race from the Gauls.[10] They did not have their own alphabet, but their language remains in place names in Provence ending in the suffixes -asc, -osc. -inc, -ates, and -auni.[9] The ancient geographer Posidonios wrote of them: "Their country is savage and dry. The soil is so rocky that you cannot plant anything without striking stones. The men compensate for the lack of wheat by hunting... They climb the mountains like goats."[11] They were also warlike; they invaded Italy and went as far as Rome in the 4th century BC, and they later aided the passage of Hannibal, on his way to attack Rome (218 BC). Traces of the Ligures remain today in the dolmens and other megaliths found in eastern Provence, in the primitive stone shelters called 'Bories' found in the Luberon and Comtat, and in the rock carvings in the Valley of Marvels near Mont Bégo in the Alpes-Maritimes, at an altitude of 2,000 meters.[12]
Between the 8th and 5th centuries BC, tribes of Celtic peoples, probably coming from Central Europe, also began moving into Provence. They had weapons made of iron, which allowed them to easily defeat the local tribes, who were still armed with bronze weapons. One tribe, called the Segobriga, settled near modern-day Marseille. The Caturiges, Tricastins, and Cavares settled to the west of the Durance river.[13]
Celts and Ligurians spread throughout the area and the Celto-Ligures eventually shared the territory of Provence, each tribe in its own alpine valley or settlement along a river, each with its own king and dynasty. They built hilltop forts and settlements, later given the Latin name oppida. Today the traces 165 oppida are found in the Var, and as many as 285 in the Alpes-Maritimes.[12] They worshipped various aspects of nature, establishing sacred woods at Sainte-Baume and Gemenos, and healing springs at Glanum and Vernègues. Later, in the 5th and 4th centuries BC, the different tribes formed confederations; the Voconces in the area from the Isère to the Vaucluse; the Cavares in the Comtat; and the Salyens, from the Rhône river to the Var. The tribes began to trade their local products, iron, silver, alabaster, marble, gold, resin, wax, honey and cheese; with their neighbours, first by trading routes along the Rhône river, and later Etruscan traders visited the coast. Etruscan amphorae from the 7th and 6th centuries BC have been found in Marseille, Cassis, and in hilltop oppida in the region.[12]
Greeks in Provence
Main article: Greeks in pre-Roman Gaul
Remains of the ancient harbour of Massalia, near the Old Port of Marseille
Traders from the island of Rhodes were visiting the coast of Provence in the 7th century BC. Rhodes pottery from that century has been found in Marseille, near Martigues and Istres, and at Mont Garou and Evenos near Toulon. The traders from Rhodes gave their names to the ancient town of Rhodanousia (Ancient Greek: 'Ροδανουσίαν) (now Trinquetaille, across the Rhône river from Arles), and to the main river of Provence, the Rhodanos, today known as the Rhône.[14]
The first permanent Greek settlement was Massalia, established at modern-day Marseille in about 600 BC by colonists coming from Phocaea (now Foça, on the Aegean coast of Asia Minor). A second wave of colonists arrived in about 540 BC, when Phocaea was destroyed by the Persians.[15]
Massalia became one of the major trading ports of the ancient world. At its height, in the 4th century BC, it had a population of about 6,000 inhabitants, living on about fifty hectares surrounded by a wall. It was governed as an aristocratic republic, by an assembly of the 600 wealthiest citizens. It had a large temple of the cult of Apollo of Delphi on a hilltop overlooking the port, and a temple of the cult of Artemis of Ephesus at the other end of the city. The Drachma coins minted in Massalia were found in all parts of Ligurian-Celtic Gaul. Traders from Massalia ventured inland deep into France on the Rivers Durance and Rhône, and established overland trade routes deep into Gaul, and to Switzerland and Burgundy, and as far north as the Baltic Sea. They exported their own products; local wine, salted pork and fish, aromatic and medicinal plants, coral and cork.[15]
The Massalians also established a series of small colonies and trading posts along the coast; which later became towns; they founded Citharista (La Ciotat); Tauroeis (Le Brusc); Olbia (near Hyères); Pergantion (Breganson); Caccabaria (Cavalaire); Athenopolis (Saint-Tropez); Antipolis (Antibes); Nikaia (Nice), and Monoicos (Monaco). They established inland towns at Glanum (Saint-Remy) and Mastrabala (Saint-Blaise.)
The most famous citizen of Massalia was the mathematician, astronomer and navigator Pytheas. Pytheas made mathematical instruments which allowed him to establish almost exactly the latitude of Marseille, and he was the first scientist to observe that the tides were connected with the phases of the moon. Between 330 and 320 BC he organised an expedition by ship into the Atlantic and as far north as England, and to visit Iceland, Shetland, and Norway. He was the first scientist to describe drift ice and the midnight sun. Though he hoped to establish a sea trading route for tin from Cornwall, his trip was not a commercial success, and it was not repeated. The Massalians found it cheaper and simpler to trade with Northern Europe over land routes.[16]
Roman Provence (2nd century BC to 5th century AD)
Triumphal Arch of Orange, first century AD
The Roman arena at Arles (2nd century AD)
The baptistery of Fréjus Cathedral (5th century) is still in use
In the 2nd century BC the people of Massalia appealed to Rome for help against the Ligures. Roman legions entered Provence three times; first in 181 BC the Romans suppressed Ligurian uprisings near Genoa; in 154 BC the Roman Consul Optimus defeated the Oxybii and the Deciates, who were attacking Antibes; and in 125 BC, the Romans put down an uprising of a confederation of Celtic tribes.[17] After this battle, the Romans decided to establish permanent settlements in Provence. In 122 BC, next to the Celtic town of Entremont, the Romans built a new town, Aquae Sextiae, later called Aix-en-Provence. In 118 BC they founded Narbo (Narbonne).
The Roman general Gaius Marius crushed the last serious resistance in 102 BC by defeating the Cimbri and the Teutons. He then began building roads to facilitate troop movements and commerce between Rome, Spain and Northern Europe; one from the coast inland to Apt and Tarascon, and the other along the coast from Italy to Spain, passing through Fréjus and Aix-en-Provence.
In 49 BC, Massalia had the misfortune to choose the wrong side in the power struggle between Pompey and Julius Caesar. Pompey was defeated, and Massalia lost its territories and political influence. Roman veterans, in the meantime, populated two new towns, Arles and Fréjus, at the sites of older Greek settlements.
In 8 BC the Emperor Augustus built a triumphal monument at La Turbie to commemorate the pacification of the region, and he began to Romanize Provence politically and culturally. Roman engineers and architects built monuments, theatres, baths, villas, fora, arenas and aqueducts, many of which still exist. (See Architecture of Provence.) Roman towns were built at Cavaillon; Orange; Arles; Fréjus; Glanum (outside Saint-Rémy-de-Provence); Carpentras; Vaison-la-Romaine; Nîmes; Vernègues; Saint-Chamas and Cimiez (above Nice). The Roman province, which was called Gallia Narbonensis, for its capital, Narbo (modern Narbonne), extended from Italy to Spain, from the Alps to the Pyrenees.
The Pax Romana in Provence lasted until the middle of the 3rd century. Germanic tribes invaded Provence in 257 and 275. At the beginning the 4th century, the court of Roman Emperor Constantine (280–337) was forced to take refuge in Arles. By the end of the 5th century, Roman power in Provence had vanished, and an age of invasions, wars, and chaos began.
Arrival of Christianity (3rd–6th centuries)
There are many legends about the earliest Christians in Provence, but they are difficult to verify. It is documented that there were organised churches and bishops in the Roman towns of Provence as early as the 3rd and 4th centuries; in Arles in 254; Marseille in 314; Orange, Vaison and Apt in 314; Cavaillon, Digne, Embrun, Gap, and Fréjus at the end of the 4th century; Aix-en-Provence in 408; Carpentras, Avignon, Riez, Cimiez (today part of Nice) and Vence in 439; Antibes in 442; Toulon in 451; Senez in 406, Saint-Paul-Trois-Châteaux in 517; and Glandèves in 541.[18] The oldest Christian structure still surviving in Provence is the baptistery of the cathedral in Fréjus, dating from the 5th century. At about the same time, in the 5th century, the first two monasteries in Provence were founded; Lérins, on an island near Cannes; and Saint-Victor in Marseille.
Germanic invasions, Merovingians and Carolingians (5th–9th centuries)
King Boson and San Stephen (fragment of fresco at Charlieu Abbey)
Beginning in the second half of the 5th century, as Roman power waned, successive waves of Germanic tribes entered Provence; first the Visigoths (480); then the Ostrogoths; then the Burgundians; finally, the Franks in the 6th century. Arab invaders and Berber pirates came from North Africa to the Coast of Provence in the beginning of the 7th century.
During the late 7th and early 8th century, Provence was formally subject to the Frankish kings of the Merovingian dynasty, but it was in fact ruled by its own regional nobility of Gallo-Roman stock, who ruled themselves according to Roman, not Frankish law. Actually, the region enjoyed a prestige that the northern Franks hadn't, but the local aristocracy feared Charles Martel's expansionist ambitions.[19] In 737 Charles Martel headed down the Rhône Valley after subduing Burgundy. Charles attacked Avignon and Arles, garrisoned by the Umayyads. He came back in 739 to capture for a second time Avignon and chase the duke Maurontus to his stronghold of Marseille.[19] The city was brought to heel and the duke had to flee to an island. The region was thereafter under the rule of Carolingian Kings, descended from Charles Martel; and then was part of the empire of Charlemagne (742–814).
In 879, after the death of the Carolingian ruler Charles the Bald, Boso of Provence, (also known as Boson), his brother-in-law, broke away from the Carolingian kingdom of Louis III and was elected the first ruler of an independent state of Provence.
The Counts of Provence (9th–13th centuries)
The Catalan Ramon Berenguer I, Count of Provence, in the Castle in Fos, painted by Marià Fortuny (Reial Acadèmia Catalana de Belles Arts de Sant Jordi, on deposit at the Palace of the Generalitat of Catalonia, Barcelona).
The Coat of Arms of Ramon Berenguer III, Count of Barcelona and his descendants, who as Counts of Provence ruled Provence from 1112 until 1246
Coat of Arms of the Counts of Provence of the House of Valois-Anjou, who ruled Provence from 1246 until it became part of France in 1486
Three different dynasties of Counts ruled Provence during the Middle Ages, and Provence became a prize in the complex rivalries between the Catalan rulers of Barcelona, the Kings of Burgundy, the German rulers of the Holy Roman Empire, and the Angevin Kings of France.[clarification needed]
The Bosonids (879–1112) were the descendants of the first King of Provence, Boson. His son, Louis the Blind (890–928) lost his sight trying to win the throne of Italy, after which his cousin, Hugh of Italy (died 947) became the Duke of Provence and the Count of Vienne. Hugh moved the capital of Provence from Vienne to Arles and made Provence a fief of Rudolph II of Burgundy.
In the 9th century, Arab pirates (called Saracens by the French) and then the Normans invaded Provence. The Normans pillaged the region and then left, but the Saracens built castles and began raiding towns and holding local residents for ransom. Early in 973, the Saracens captured Maieul, the Abbot of the Monastery at Cluny, and held him for ransom. The ransom was paid and the abbot was released, but the people of Provence, led by Count William I rose up and defeated the Saracens near their most powerful fortress Fraxinet (La Garde-Freinet) at the Battle of Tourtour. The Saracens who were not killed at the battle were baptised and enslaved, and the remaining Saracens in Provence fled the region. Meanwhile, the dynastic quarrels continued. A war between Rudolph III of Burgundy and his rival, the German Emperor Conrad the Salic in 1032 led to Provence becoming a fiefdom of the Holy Roman Empire, which it remained until 1246.
In 1112, the last descendant of Boson, Douce I, Countess of Provence, married the Catalan Ramon Berenguer III, Count of Barcelona, who as a result became Raymond Berenguer I, Count of Provence. He ruled Provence from 1112 until 1131, and his descendants, the Catalan counts ruled in Provence until 1246. In 1125, Provence was divided; the part of Provence north and west of the Durance river went to the Count of Toulouse, while the lands between the Durance and the Mediterranean, and from the Rhône river to the Alps, belonged to the Counts of Provence. The capital of Provence was moved from Arles to Aix-en-Provence, and later to Brignoles.[20]
The Church of Saint Trophime in Arles (12th century)
Under the Catalan counts, the 12th century saw the construction of important cathedrals and abbeys in Provence, in a harmonious new style, the romanesque, which united the Gallo-Roman style of the Rhône Valley with the Lombard style of the Alps. Aix Cathedral was built on the site of the old Roman forum, and then rebuilt in the gothic style in the 13th and 14th centuries. The Church of St. Trophime in Arles was a landmark of Romanesque architecture, built between the 12th and the 15th centuries. A vast fortress-like monastery, Montmajour Abbey, was built on an island just north of Arles, and became a major destination for medieval pilgrims.
In the 12th century three Cistercian monasteries were built in remote parts of Provence, far from the political intrigues of the cities. Sénanque Abbey was the first, established in the Luberon 1148 and 1178. Le Thoronet Abbey was founded in a remote valley near Draguignan in 1160. Silvacane Abbey, on the Durance river at La Roque-d'Anthéron, was founded in 1175.
In the 13th century, the French kings started to use marriage to extend their influence into the south of France. One son of King Louis VIII of France "the Lion", Alphonse, Count of Poitou, married the heiress of the Count of Toulouse, Joan. Another, Louis IX "the Saint" of France or Saint Louis (1214–1270), married Marguerite of Provence. Then, in 1246, Charles, Count of Anjou, the youngest son of Louis VIII, married the heiress of Provence, Beatrice. Provence's fortunes became tied to the Angevin Dynasty and the Kingdom of Naples.[21]
The Popes in Avignon (14th century)
Main article: Avignon papacy
The façade of the Palais des Papes.
In 1309, Pope Clement V, who was originally from Bordeaux, moved the Roman Catholic Papacy to Avignon.[22] From 1309 until 1377, seven Popes reigned in Avignon before the Schism between the Roman and Avignon churches, which led to the creation of rival popes in both places. After that three Antipopes reigned in Avignon until 1423, when the Papacy finally returned to Rome. Between 1334 and 1363 the old and new Papal Palaces of Avignon were built by Popes Benedict XII and Clement VI respectively; together the Palais des Papes was the largest gothic palace in Europe.[23]
The 14th century was a terrible time in Provence, and all of Europe: the population of Provence had been about 400,000 people; the Black Plague (1348–1350) killed fifteen thousand people in Arles, half the population of the city, and greatly reduced the population of the whole region. The defeat of the French Army during the Hundred Years' War forced the cities of Provence to build walls and towers to defend themselves against armies of former soldiers who ravaged the countryside.
The Angevin rulers of Provence also had a difficult time. An assembly of nobles, religious leaders, and town leaders of Provence was organised to resist the authority of Queen Joan I of Naples (1343–1382). She was murdered in 1382 by her cousin and heir, Charles of Durazzo, who started a new war, leading to the separation of Nice, Puget-Théniers and Barcelonnette from Provence in 1388, and their attachment to the County of Savoy. From 1388 up to 1526, the area acquired by the Savoy was known as Terres Neuves de Provence; after 1526 it officially took on the name County of Nice.
Good King René, the last ruler of Provence
Detail of the Burning Bush triptych by Nicolas Froment, showing René and his wife Jeanne de Laval
The Chateau of René in Tarascon (15th century)
The 15th century saw a series of wars between the Kings of Aragon and the Counts of Provence. In 1423 the army of Alphonse of Aragon captured Marseille, and in 1443 they captured Naples, and forced its ruler, King René I of Naples, to flee. He eventually settled in one of his remaining territories, Provence.
History and legend has given René the title "Good King René of Provence", though he only lived in Provence in the last ten years of his life, from 1470 to 1480, and his political policies of territorial expansion were costly and unsuccessful. Provence benefitted from population growth and economic expansion, and René was a generous patron of the arts, sponsoring painters Nicolas Froment, Louis Bréa, and other masters. He also completed one of the finest castles in Provence at Tarascon, on the Rhône river.
When René died in 1480, his title passed to his nephew Charles du Maine. One year later, in 1481, when Charles died, the title passed to Louis XI of France. Provence was legally incorporated into the French royal domain in 1486.
1486 to 1789
Soon after Provence became part of France, it became involved in the Wars of Religion that swept the country in the 16th century. Between 1493 and 1501, many Jews were expelled from their homes and sought sanctuary in the region of Avignon, which was still under the direct rule of the Pope. In 1545, the Parliament of Aix-en-Provence ordered the destruction of the villages of Lourmarin, Mérindol, Cabriéres in the Luberon, because their inhabitants were Vaudois, of Italian Piedmontese origin, and were not considered sufficiently orthodox Catholics. Most of Provence remained strongly Catholic, with only one enclave of Protestants, the principality of Orange, Vaucluse, an enclave ruled by Prince William of the House of Orange-Nassau of the Netherlands, which was created in 1544 and was not incorporated into France until 1673. An army of the Catholic League laid siege to the Protestant city of Mėnerbes in the Vaucluse between 1573 and 1578. The wars did not stop until the end of the 16th century, with the consolidation of power in Provence by the House of Bourbon kings.
View of Toulon Harbour around 1750, by Joseph Vernet.
The semi-independent Parliament of Provence in Aix and some of the cities of Provence, particularly Marseille, continued to rebel against the authority of the Bourbon king. After uprisings in 1630–31 and 1648–1652, the young King Louis XIV had two large forts, fort St. Jean and Fort St. Nicholas, built at the harbour entrance to control the city's unruly population.
At the beginning of the 17th century, Cardinal Richelieu began to build a naval arsenal and dockyard at Toulon to serve as a base for a new French Mediterranean fleet. The base was greatly enlarged by Jean-Baptiste Colbert, the minister of Louis XIV, who also commissioned his chief military engineer Vauban to strengthen the fortifications around the city.
At the beginning of the 17th century, Provence had a population of about 450,000 people.[24] It was predominantly rural, devoted to raising wheat, wine, and olives, with small industries for tanning, pottery, perfume-making, and ship and boat building. Provençal quilts, made from the mid-17th century onwards, were successfully exported to England, Spain, Italy, Germany and Holland.[25] There was considerable commerce along the coast, and up and down the Rhône river. The cities: Marseille, Toulon, Avignon and Aix-en-Provence, saw the construction of boulevards and richly decorated private houses.
Marseille in 1754, by Vernet
At the beginning of the 18th century, Provence suffered from the economic malaise of the end of the reign of Louis XIV. The plague struck the region between 1720 and 1722, beginning in Marseille, killing some 40,000 people. Still, by the end of the century, many artisanal industries began to flourish; making perfumes in Grasse; olive oil in Aix and the Alpilles; textiles in Orange, Avignon and Tarascon; and faience pottery in Marseille, Apt, Aubagne, and Moustiers-Sainte-Marie. Many immigrants arrived from Liguria and the Piedmont in Italy. By the end of the 18th century, Marseille had a population of 120,000 people, making it the third largest city in France.[24]
During the French Revolution
Main article: French Revolution
Though most of Provence, with the exception of Marseille, Aix and Avignon, was rural, conservative and largely royalist, it did produce some memorable figures in the French Revolution; Honoré Gabriel Riqueti, comte de Mirabeau from Aix, who tried to moderate the Revolution, and turn France into a constitutional monarchy like England; the Marquis de Sade from Lacoste in the Luberon, who was a Deputy from the far left in the National Assembly; Charles Barbaroux from Marseille, who sent a battalion of volunteers to Paris to fight in the French Revolutionary Army; and Emmanuel-Joseph Sieyès (1748–1836), an abbé, essayist and political leader, who was one of the chief theorists of the French Revolution, French Consulate, and First French Empire, and who, in 1799, was the instigator of the coup d'état of 18 Brumaire, which brought Napoleon to power.
La Marseillaise 1792
Provence also produced the most memorable song of the period, the La Marseillaise. Though the song was originally written by a citizen of Strasbourg, Claude Joseph Rouget de Lisle in 1792, and it was originally a war song for the revolutionary Army of the Rhine, it became famous when it sung on the streets of Paris by the volunteers from Marseille, who had heard it when it was sung in Marseille by a young volunteer from Montpellier named François Mireur. It became the most popular song of the Revolution, and in 1879 became the national anthem of France.
The Revolution was as violent and bloody in Provence as it was in other parts of France. On 30 April 1790, Fort Saint-Nicolas in Marseille was besieged, and many of the soldiers inside were massacred. On 17 October 1791 a massacre of royalists and religious figures took place in the ice storage rooms (glaciere) of the prison of the Palace of the Popes in Avignon.
When the radical Montagnards seized power from the Girondins in May 1793, a real counter-revolution broke out in Avignon, Marseille and Toulon. A revolutionary army under General Carteaux recaptured Marseille in August 1793 and renamed it "City without a Name" (Ville sans Nom.) In Toulon, the opponents of the Revolution handed the city to a British and Spanish fleet on 28 August 1793. A Revolutionary Army laid siege to the British positions for four months (see the Siege of Toulon), and finally, thanks to the enterprise of the young commander of artillery, Napoleon Bonaparte, defeated the British and drove them out in December 1793. About 15,000 royalists escaped with the British fleet, but five to eight hundred of the 7,000 who remained were shot on the Champ de Mars, and Toulon was renamed "Port la Montagne".
The fall of the Montagnards in July 1794 was followed by a new White Terror aimed at the revolutionaries. Calm was only restored by the rise of Napoleon to power in 1795.
Under Napoleon
Napoleon restored the belongings and power of the families of the old regime in Provence. The British fleet of Admiral Horatio Nelson blockaded Toulon, and almost all maritime commerce was stopped, causing hardship and poverty. When Napoleon was defeated, his fall was celebrated in Provence. When he escaped from Elba on 1 March 1815, and landed at Golfe-Juan, he detoured to avoid the cities of Provence, which were hostile to him, and therefore directed his small force directly to the northeast of it.[26]
19th century
Marseille in 1825
Provence enjoyed prosperity in the 19th century; the ports of Marseille and Toulon connected Provence with the expanding French Empire in North Africa and the Orient, especially after the opening of the Suez Canal in 1869.
In April–July 1859, Napoleon III made a secret agreement with Cavour, Prime Minister of Piedmont, for France to assist in expelling Austria from the Italian Peninsula and bringing about a united Italy, in exchange for Piedmont ceding Savoy and the Nice region to France. He went to war with Austria in 1859 and won a victory at Solferino, which resulted in Austria ceding Lombardy to France. France immediately ceded Lombardy to Piedmont, and, in return, Napoleon received Savoy and Nice in 1860, and Roquebrune-Cap-Martin and Menton in 1861.
The railroad connected Paris with Marseille (1848) and then with Toulon and Nice (1864). Nice, Antibes and Hyères became popular winter resorts for European royalty, including Queen Victoria. Under Napoleon III, Marseille grew to a population of 250,000, including a very large Italian community. Toulon had a population of 80,000. The large cities like Marseille and Toulon saw the building of churches, opera houses, grand boulevards, and parks.
After the fall of Louis Napoleon following the defeat in the Franco-Prussian War barricades went up in the streets of Marseille (23 March 1871) and the Communards, led by Gaston Cremieux and following the lead of the Paris Commune, took control of the city. The Commune was crushed by the army and Cremieux was executed on 30 November 1871. Though Provence was generally conservative, it often elected reformist leaders; Prime Minister Léon Gambetta was the son of a Marseille grocer, and future prime minister Georges Clemenceau was elected deputy from the Var in 1885.
The second half of the 19th century saw a revival of the Provençal language and culture, particularly traditional rural values. driven by a movement of writers and poets called the Felibrige, led by poet Frédéric Mistral. Mistral achieved literary success with his novel Miréio (Mireille in French); he was awarded the Nobel Prize for literature in 1904.
20th century
Between World War I and World War II, Provence was bitterly divided between the more conservative rural areas and the more radical big cities. There were widespread strikes in Marseille in 1919, and riots in Toulon in 1935.
After the defeat of France by Germany in June 1940, France was divided into an occupied zone and unoccupied zone, with Provence in the unoccupied zone. Parts of eastern Provence were occupied by Italian soldiers. Collaboration and passive resistance gradually gave way to more active resistance, particularly after Nazi Germany invaded the Soviet Union in June 1941 and the Communist Party became active in the resistance. Jean Moulin, the deputy of Charles de Gaulle, the leader of the Free France resistance movement, was parachuted into Eygalières, in the Bouches-du-Rhône on 2 January 1942 to unite the diverse resistance movements in all of France against the Germans.
In November 1942, following Allied landings in North Africa (Operation Torch), the Germans occupied all of Provence (Operation Attila) and then headed for Toulon (Case Anton). The French fleet at Toulon sabotaged its own ships to keep them from falling into German hands.
The Germans began a systematic rounding-up of French Jews and refugees from Nice and Marseille. Many thousands were taken to concentration camps, and few survived. A large quarter around the port of Marseille was emptied of inhabitants and dynamited, so it would not serve as a base for the resistance. Nonetheless, the resistance grew stronger; the leader of the pro-German militia, the Milice, in Marseille was assassinated in April 1943.
On 15 August 1944, two months after the Allied landings in Normandy (Operation Overlord), the Seventh United States Army under General Alexander Patch, with a Free French corps under General Jean de Lattre de Tassigny, landed on the coast of the Var between St. Raphael and Cavalaire (Operation Dragoon). The American forces moved north toward Manosque, Sisteron and Gap, while the French First Armored Division under General Vigier liberated Brignoles, Salon, Arles, and Avignon. The Germans in Toulon resisted until 27 August, and Marseille was not liberated until 25 August.
After the end of the War, Provence faced an enormous task of repair and reconstruction, particularly of the ports and railroads destroyed during the war. As part of this effort, the first modern concrete apartment block, the Unité d'Habitation of Corbusier, was built in Marseille in 1947–52. In 1962, Provence absorbed a large number of French citizens who left Algeria after its independence. Since that time, large North African communities settled in and around the big cities, particularly Marseille and Toulon.
In the 1940s, Provence underwent a cultural renewal, with the founding of the Avignon Festival of theatre (1947), the reopening of the Cannes Film Festival (begun in 1939), and many other major events. With the building of new highways, particularly the Paris Marseille autoroute which opened in 1970, Provence became destination for mass tourism from all over Europe. Many Europeans, particularly from Britain, bought summer houses in Provence. The arrival of the TGV high-speed trains shortened the trip from Paris to Marseille to less than four hours.
At the end of the 20th century, and the beginning of the 21st century, the residents of Provence were struggling to reconcile economic development and population growth with their desire to preserve the landscape and culture that make Provence unique.
Extent and geography
The Roman Province of Gallia Narbonensis around 58 BC
The original Roman province was called Gallia Transalpina, then Gallia Narbonensis, or simply Provincia Nostra ('Our Province') or Provincia. It extended from the Alps to the Pyrenees and north to the Vaucluse, with its capital in Narbo Martius (present-day Narbonne).
Borders
In the 15th century the Conté of Provence was bounded by the Var river on the east, the Rhône river to the west, with the Mediterranean to the south, and a northern border that roughly followed the Durance river.
The Comtat Venaissin, a territory which included Avignon, and the principality of Orange were both papal states, ruled by the Pope from the 13th century until the French Revolution. At the end of the 14th century, another piece of Provence along the Italian border, including Nice and the lower Alps, was detached from Provence and attached to the lands of the Duke of Savoy. The lower Alps were re-attached to France after the Treaty of Utrecht in 1713, but Nice did not return to France until 1860, during the reign of Napoleon III.[27]
The administrative region of Provence-Alpes-Cote d'Azur was created in 1982. It included Provence, plus the territory of the Comtat Venaissin around Avignon, the eastern portion of the Dauphiné, and the former county of Nice.
Rivers
The Rhône at Avignon
The Rhône river, on the western border of Provence, is one of the major rivers of France, and has been a highway of commerce and communications between inland France and the Mediterranean for centuries. It rises as the effluent of the Rhône Glacier in Valais, Switzerland, in the Saint-Gotthard massif, at an altitude of 1753 m. It is joined by the river Saône at Lyon. Along the Rhône Valley, it is joined on the right bank by Cévennes rivers Eyrieux, Ardèche, Cèze and Gardon or Gard, on the left Alps bank by rivers Isère, Drôme, Ouvèze and Durance. At Arles, the Rhône divides itself in two arms, forming the Camargue delta, with all branches flowing into the Mediterranean Sea. One arm is called the "Grand Rhône"; the other one is the "Petit Rhône".
The Gorge du Verdon.
The Durance river, a tributary of the Rhône, has its source in the Alps near Briançon. It flows south-west through Embrun, Sisteron, Manosque, Cavaillon, and Avignon, where it meets the Rhône.
The Verdon River is a tributary of the Durance, rising at an altitude of 2,400 metres in the southwestern Alps near Barcelonette, and flowing southwest for 175 kilometres through the Alpes-de-Haute-Provence and Var (départements) before it reaches the Durance at near Vinon-sur-Verdon, south of Manosque. The Verdon is best known for its canyon, the Verdon Gorge. This limestone canyon, also called the 'Grand Canyon of Verdon', 20 kilometres in length and more than 300 metres deep, is a popular climbing and sight-seeing area.
The Var River rises near the Col de la Cayolle (2,326 m/7,631 ft) in the Maritime Alps and flows generally southeast for 120 kilometres (75 mi) into the Mediterranean between Nice and Saint-Laurent-du-Var. Before Nice was returned to France in 1860, the Var marked the eastern border of France along the Mediterranean. The Var is the unique case in France of a river giving a name to a department, but not flowing through that department (due to subsequent adjustments to the department's boundaries).
The Camargue
With an area of over 930 km2 (360 mi2), the Camargue is Western Europe's largest river delta (technically an island, as it is wholly surrounded by water). It is a vast plain comprising large brine lagoons or étangs, cut off from the sea by sandbars and encircled by reed-covered marshes which are in turn surrounded by a large cultivated area.
The Camargue is home to more than 400 species of birds, the brine ponds providing one of the few European habitats for the greater flamingo. The marshes are also a prime habitat for many species of insects, notably (and notoriously) some of the most ferocious mosquitoes to be found anywhere in France. It is also famous for bulls and the Camargue horse.
Mountains
Vallon de Mollières, Mercantour National Park.
Alpilles landscape near Le Destet.
By considering the Maritime Alps, along the border with Italy, as a part of the cultural Provence, they constitute the highest elevations of the region (the Punta dell'Argentera has an elevation of 3,297 m). They form the border between the French département Alpes-Maritimes and the Italian province of Cuneo. Mercantour National Park is located in the Maritime Alps. On the other hand, if the département Hautes Alpes is also considered as part of the modern Provence, then the alpin Écrins mountains represent the highest elevations of the region with the Barre des Écrins culminating at 4102m.
View of Mont Ventoux from Mirabel-aux-Baronnies.
Outside of the Maritime Alps, Mont Ventoux (Occitan: Ventor in classical norm or Ventour in Mistralian norm), at 1,909 metres (6,263 ft), is the highest peak in Provence. It is located some 20 km north-east of Carpentras, Vaucluse. On the north side, the mountain borders the Drôme département. It is nicknamed the "Giant of Provence", or "The Bald Mountain". Although geologically part of the Alps, is often considered to be separate from them, due to the lack of mountains of a similar height nearby. It stands alone to the west of the Luberon range, and just to the east of the Dentelles de Montmirail, its foothills. The top of the mountain is bare limestone without vegetation or trees. The white limestone on the mountain's barren peak means it appears from a distance to be snow-capped all year round (its snow cover actually lasts from December to April).
The Alpilles are a chain of small mountains located about 20 kilometres (12 mi) south of Avignon. Although they are not particularly high – only some 387 metres (1,270 ft) at their highest point – the Alpilles stand out since they rise abruptly from the plain of the Rhône valley. The range is about 25 km long by about 8 to 10 km wide, running in an east–west direction between the Rhône and Durance rivers. The landscape of the Alpilles is one of arid limestone peaks separated by dry valleys.
Mont Sainte-Victoire, painted by Paul Cézanne
Montagne Sainte-Victoire is probably the best-known mountain in Provence, thanks to the painter Paul Cézanne, who could see it from his home, and painted it frequently. It is a limestone mountain ridge which extends over 18 kilometres between the départements of Bouches-du-Rhône and Var. Its highest point is the Pic des mouches at 1,011 m.
The massif des Maures
The Massif des Maures (Mountains of the Moors) is a small chain of mountains that lies along the coast of the Mediterranean in the Var Department between Hyères et Fréjus. Its highest point is the signal de la Sauvette, 780 metres high. The name is a souvenir of the Moors (Maures in Old French), Arabs and Berbers from North Africa, who settled on the coast of Provence in the 9th and 10th centuries.
The massif des Maures extends about sixty kilometres along the coast, and reaches inland about thirty kilometres. On the north it is bordered by a depression which is followed by the routes nationales 97 and 7 and the railroad line between Toulon and Nice. On the south it ends abruptly at the Mediterranean, forming a broken and abrupt coastline.
The peninsula of Saint-Tropez is part of the Massif des Maures, along with the peninsula of Giens and the islands offshore of Hyères; Porquerolles, Port-Cros, and île du Levant. Cape Sicié, west of Toulon, as well as the massif of Tanneron, belong geologically to the massif des Maures.
The Calanques
Calanque de Sugiton
The Calanques, also known as the Massif des Calanques, are a dramatic feature of the Provence coast, a 20-km long series of narrow inlets in the cliffs of the coastline between Marseille on the west and Cassis on the east. The highest peak in the massif is Mont Puget, 565 metres high.
The best known calanques of the Massif des Calanques include the Calanque de Sormiou, the Calanque de Morgiou, the Calanque d'En-Vau, the Calanque de Port-Pin and the Calanque de Sugiton.
Calanques are remains of ancient river mouths formed mostly during Tertiary. Later, during quaternary glaciations, as glaciers swept by, they further deepened those valleys which would eventually (at the end of the last glaciation) be invaded with sea and become calanques.
The Garrigue, typical landscape of Provence
The Cosquer cave is an underwater grotto in the Calanque de Morgiou, 37 metres (121 ft) underwater, that was inhabited during Paleolithic era, when the sea level was much lower than today. Its walls are covered with paintings and engravings dating back to between 27,000 and 19,000 BC, depicting animals such as bison, ibex, and horses, as well as sea mammals such as seals, and at least one bird, the auk.
Landscapes
The Garrigue is the typical landscape of Provence; it is a type of low, soft-leaved scrubland or chaparral found on limestone soils around the Mediterranean Basin, generally near the seacoast, where the climate is moderate, but where there are annual summer drought conditions.[28] Juniper and stunted holm oaks are the typical trees; aromatic lime-tolerant shrubs such as lavender, sage, rosemary, wild thyme and Artemisia are common garrigue plants. The open landscape of the garrigue is punctuated by dense thickets of Kermes oak.
Climate
Mistral wind blowing near Marseille. In the center is the Château d'If
Sisteron – la Baume rock
Forcalquier Cathedral
Most of Provence has a Mediterranean climate, characterised by hot, dry summers, mild winters, little snow, and abundant sunshine. Within Provence there are micro-climates and local variations, ranging from the Alpine climate inland from Nice to the continental climate in the northern Vaucluse. The winds of Provence are an important feature of the climate, particularly the mistral, a cold, dry wind which, especially in the winter, blows down the Rhône Valley to the Bouches-du-Rhône and the Var Departments, and often reaches over one hundred kilometres an hour.
Bouches-du-Rhône
Marseille, in the Bouches-du-Rhône, has an average of 59 days of rain a year, though when it does rain the rain is often torrential; the average annual rainfall is 544.4 mm. It snows an average of 2.3 days a year, and the snow rarely remains long. Marseille has an average of 2835.5 hours of sunshine a year. The average minimum temperature in January is 2.3 °C., and the average maximum temperature in July is 29.3 °C. The mistral blows an average of one hundred days a year.[29]
The Var
Toulon and the Department of the Var (which includes St. Tropez and Hyères) have a climate slightly warmer, dryer and sunnier than Nice and the Alpes-Maritime, but also less sheltered from the wind. Toulon has an average of 2899.3 hours of sunshine a year, making it the sunniest city in metropolitan France,[30] The average maximum daily temperature in August is 29.1 °C., and the average daily minimum temperature in January is 5.8 °C. The average annual rainfall is 665 mm, with the most rain from October to November. Strong winds blow an average of 118 days a year in Toulon, compared with 76 days at Fréjus further east. The strongest Mistral wind recorded in Toulon was 130 kilometres an hour.[31]
Alpes-Maritimes
Nice and the Alpes-Maritimes Department are sheltered by the Alps, and are the most protected part of the Mediterranean coast. The winds in this department are usually gentle, blowing from the sea to the land, though sometimes the Mistral blows strongly from the northwest, or, turned by the mountains, from the east. In 1956 a mistral wind from the northwest reached the speed of 180 kilometres an hour at Nice airport. Sometimes in summer the scirocco brings high temperatures and reddish desert sand from Africa. (See Winds of Provence.)
Rainfall is infrequent – 63 days a year, but can be torrential, particularly in September, when storms and rain are caused by the difference between the colder air inland and the warm Mediterranean water temperature (20–24 degrees C.). The average annual rainfall in Nice is 767 mm, more than in Paris, but concentrated in fewer days.
Snow is extremely rare, usually falling once every ten years. 1956 was a very exceptional year, when 20 centimetres of snow blanketed the coast. In January 1985 the coast between Cannes and Menton received 30 to 40 centimetres of snow. In the mountains, the snow is present from November to May
Nice has an annual average of 2694 hours of sunshine. The average maximum daily temperature in Nice in August is 28 °C., and the average minimum daily temperature in January is 6 °C.[32]
Alpes-de-Haute-Provence
The Department of Alpes-de-Haute-Provence has a Mediterranean climate in the lower valleys under one thousand metres in altitude and an alpine climate in the high valleys, such as the valleys of the Blanche, the Haut Verdon and the Ubaye, which are over 2500 metres high. The alpine climate in the higher mountains is moderated by the warmer air from the Mediterranean.
Haute-Provence has unusually high summer temperatures for its altitude and latitude (44 degrees north). The average summer temperature is 22 to 23 °C. at an altitude of 400 metres, and 18 to 19 °C. at the altitude of 1000 metres; and the winter average temperature is 4 to 5 °C. at 400 metres and 0 C. at 1000 metres. The lower valleys have 50 days of freezing temperatures a year, more in the higher valleys. Sometimes the temperatures in the high valleys can reach −30 °C. Because of this combination of high mountains and Mediterranean air, it is not unusual that the region frequently has some of the lowest winter temperatures and some of the hottest summer temperatures in France.
Rainfall in Haute-Provence is infrequent – 60 to 80 days a year – but can be torrential; 650 to 900 mm. a year in the foothills and plateaus of the southwest, and in the valley of the Ubaye; and 900 to 1500 mm. in the mountains. Most rainfall comes in the autumn, in brief and intense storms; from mid-June to mid-August, rain falls during brief but violent thunderstorms. Thunder can be heard 30 to 40 days a year.
Snow falls in the mountains from November to May, and in midwinter can be found down to altitude of 1000–1200 metres on the shady side of the mountains and 1300 to 1600 metres on the sunny side. Snowfalls are usually fairly light, and melt rapidly.
The Mistral (wind) is a feature of the climate in the western part of the Department, blowing from the north and the northwest, bringing clear and dry weather. The eastern part of the department is more protected from the Mistral. The Marin (wind) comes from the south, bringing warm air, clouds and rain.
Haute-Provence is one of the sunniest regions of France, with an average of between 2550 and 2650 hours of sunshine annually in the north of the department, and 2700 to 2800 hours in the southwest. The clear nights and sunny days cause a sharp difference between nighttime and daytime temperatures. Because of the clear nights, the region is home of important observatories, such as the Observatory of Haute-Provence in Saint-Michel-Observatoire near of Forcalquier.[33]
The Vaucluse
The Vaucluse is the meeting point of three of the four different climatic zones of France; it has a Mediterranean climate in the south, an alpine climate in the northeast, around the mountains of Vaucluse and the massif of the Baronnies; and a continental climate in the northwest. The close proximity of these three different climates tends to moderate all of them, and the Mediterranean climate usually prevails.
Orange in the Vaucluse has 2595 hours of sunshine a year. It rains an average of 80 days a year, for a total of 693.4 mm a year. The maximum average temperature in July is 29.6 °C., and the average minimum temperature in January is 1.3 °C. There are an average of 110 days of strong winds a year.[34]
Language and literature
Scientists, scholars and prophets
Pytheas (4th century BCE) was a geographer and mathematician who lived in the Greek colony of Massalia, which became Marseille. He conducted an expedition by sea north around England to Iceland, and was the first to describe the midnight sun and polar regions.
Petrarch (1304–1374) was an Italian poet and scholar, considered the father of humanism and one of the first great figures of Italian literature. He spent much of his early life in Avignon and Carpentras as an official at the Papal court in Avignon, and wrote a famous account of his ascent of Mount Ventoux near Aix-en-Provence.
Nostradamus (1503–1566), a Renaissance apothecary and reputed clairvoyant best known for his alleged prophecies of great world events, was born in Saint-Remy-de-Provence and lived and died in Salon-de-Provence.
Occitan literature
Main articles: Occitan language and Occitan literature
Raimbaut de Vaqueiras, from a collection of troubadour songs, BNF Richelieu Manuscrits Français 854, Bibliothèque Nationale Française, Paris.
Historically the language spoken in Provence was Provençal, a dialect of the Occitan language, also known as langue d'oc, and closely related to Catalan. There are several regional variations: vivaro-alpin, spoken in the Alps; and the provençal variations of south, including the maritime, the rhoadanien (in the Rhône Valley) and the niçois (in Nice). Niçois is the archaic form of provençal closest to the original language of the troubadours, and is sometimes to said to be literary language of its own.[35]
Provençal was widely spoken in Provence until the beginning of the 20th century, when the French government launched an intensive and largely successful effort to replace regional languages with French. Today Provençal is taught in schools and universities in the region, but is spoken regularly by a small number of people, probably less than five hundred thousand, mostly elderly.
Writers and poets in the Occitan language
"Folquet de Marselha" in a 13th-century chansonnier. Depicted in his episcopal robes
The golden age of Provençal literature, more correctly called Occitan literature, was the 11th century and the 12th century, when the troubadours broke away from classical Latin literature and composed romances and love songs in their own vernacular language. Among the most famous troubadours was Folquet de Marselha, whose love songs became famous all over Europe, and who was praised by Dante in his Divine Comedy. In his later years, Folquet gave up poetry to become the Abbot of Le Thoronet Abbey, and then Bishop of Toulouse, where he fiercely persecuted the Cathars.
In the middle of the 19th century, there was a literary movement to revive the language, called the Félibrige, led by the poet Frédéric Mistral (1830–1914), who shared the Nobel Prize for Literature in 1904.
Provençal writers and poets who wrote in Occitan include:
Raimbaut de Vaqueiras (1180–1207)
Louis Bellaud (1543–1588)
Théodore Aubanel (1829–1886)
Joseph d'Arbaud (1874–1950)
Robert Lafont (1923–2009)
French authors
Alphonse Daudet
Colette
Alphonse Daudet (1840–1897) was the best-known French writer from Provence in the 19th century, though he lived mostly in Paris and Champrosay. He was best known for his Lettres de mon moulin (eng: Letters from my Mill) (1869) and the Tartarin de Tarascon trilogy (1872, 1885, 1890). His story L'Arlésienne (1872) was made into a three-act play with music by Bizet.[36]
Marcel Pagnol (1895–1970), born in Aubagne, is known both as a filmmaker and for his stories of his childhood, Le Château de la Mere, La Gloire de mon Pere, and Le Temps des secrets. He was the first filmmaker to become a member of the Académie française in 1946.
Colette (Sidonie-Gabrielle Colette) (1873–1954), although she was not from Provence, became particularly attached to Saint-Tropez. After World War II, she headed a committee which saw that the village, badly damaged by the war, was restored to its original beauty and character
Jean Giono (1895–1970), born in Manosque, wrote about peasant life in Provence, inspired by his imagination and by his vision of Ancient Greece.
Paul Arène (1843–1896), born in Sisteron, wrote about life and the countryside around his home town.
Emigrés, exiles, and expatriates
In the 19th and 20th centuries, the climate and lifestyle of Provence attracted writers almost as much as it attracted painters. It was particularly popular among British, American and Russian writers in the 1920s and 1930s.
Edith Wharton (1862–1937), bought Castel Sainte-Claire in 1927, on the site of a former convent in the hills above Hyères, where she lived during the winters and springs until her death in 1937.
F. Scott Fitzgerald (1896–1940) and his wife Zelda first visited the Riviera in 1924, stopping at Hyères, Cannes and Monte Carlo, eventually staying at St. Raphaël, where he wrote much of The Great Gatsby and began Tender is the Night.
Ivan Bunin (1870–1953), the first Russian writer to win the Nobel Prize for Literature, went to France after the Russian Revolution, set several of his short stories on the Côte d'Azur, and had a house in Grasse.
Somerset Maugham (1874–1965) bought a house, the Villa Mauresque, in Saint-Jean-Cap-Ferrat in 1928, and, except for the years of World War II, spent much of his time there until his death.
Other English-speaking writers who live in or have written about Provence include:
Peter Mayle
Carol Drinkwater
John Lanchester
Willa Cather
Charles Spurgeon (who spent long periods in Menton)
Katherine Mansfield
Lawrence Durrell
Music
Music written about Provence includes:
The saxophone concerto Tableaux de Provence (Pictures of Provence) composed by Paule Maurice.
The opera Mireille by Charles Gounod after Frédéric Mistral's poem Mireio.
Georges Bizet, 'L'Arlésienne' incidental music to play by Alphonse Daudet.
Darius Milhaud, 'Suite Provençale'
Two song settings of Vladimir Nabokov's poem "Provence" in Russian and English versions by composers Ivan Barbotin and James DeMars on the 2011 contemporary classical album Troika.[37]
The piece "Suite Provencale", written for symphonic band by Jan Van der Roost.
Painters
The 14th-century ceiling of the cloister of Fréjus Cathedral is decorated with paintings of animals, people and mythical creatures
Triptych of the Burning Bush, by Nicolas Froment, in Aix Cathedral (15th century)
Artists have been painting in Provence since prehistoric times; paintings of bisons, seals, auks and horses dating to between 27,000 and 19,000 BC were found in the Cosquer Cave near Marseille.[38]
The 14th-century wooden ceiling of the cloister of Fréjus Cathedral has a remarkable series of paintings of biblical scenes, fantastic animals, and scenes from daily life, painted between 1350 and 1360. They include paintings of a fallen angel with the wings of a bat, a demon with the tail of a serpent, angels playing instruments, a tiger, an elephant, an ostrich, domestic and wild animals, a mermaid, a dragon, a centaur, a butcher, a knight, and a juggler.[39]
Nicolas Froment (1435–1486) was the most important painter of Provence during the Renaissance, best known for his triptych of the Burning Bush (c. 1476), commissioned by King René I of Naples. The painting shows a combination of Moses, the Burning Bush, and the Virgin Mary "who gave birth but remained a virgin", just as the bush of Moses "-burned with fire, and the bush was not consumed". This is the explication according to a plaque in the cathedral. A more likely reason for the juxtaposition is that in 1400 a shepherd, or shepherds, discovered a miraculous statue of the Virgin and Child inside another burning bush (thorn bush specifically), in the village of L'Epine in the present day department of La Marne. The site and statue were later visited by the "Bon Roi René". The wings of the triptych show King René with Mary Magdalene, St. Anthony and St. Maurice on one side, and Queen Jeanne de Laval, with Saint Catherine, John the Evangelist, and Saint Nicholas on the other.[40]
Louis Bréa (1450–1523) was a 15th-century painter, born in Nice, whose work is found in churches from Genoa to Antibes. His Retable of Saint-Nicholas (1500) is found in Monaco, and his Retable de Notre-Dame-de-Rosaire (1515) is found in Antibes.
Pierre Paul Puget (1620–1694), born in Marseille, was a painter of portraits and religious scenes, but was better known for his sculptures, found in Toulon Cathedral, outside the city hall of Toulon, and in the Louvre. There is a mountain named for him near Marseille, and a square in Toulon.
Paul Cézanne, L'Estaque, 1883–1885
Vincent van Gogh, Cafe Terrace at Night, September 1888
Paul Signac, The Port of Saint-Tropez, oil on canvas, 1901
In the 19th and 20th centuries, many of the most famous painters in the world converged on Provence, drawn by the climate and the clarity of the light. The special quality of the light is partly a result of the Mistral wind, which removes dust from the atmosphere, greatly increasing visibility.
Adolphe Monticelli (1824–1886) was born in Marseille, moved to Paris in 1846 and returned to Marseille in 1870. His work influenced Vincent van Gogh who greatly admired him.[41]
Paul Cézanne (1839–1906) was born in Aix-en-Provence, and lived and worked there most of his life. The local landscapes, particularly Montagne Sainte-Victoire, featured often in his work. He also painted frequently at L'Estaque.
Vincent van Gogh (1853–1890) liv
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Lamentation over the dead Christ - Beweinung Christi ("Glimsche Beweinung") (1500) - Oil on spruce wood 151.9 x 121.6 cm - Alte Pinakothek Munich
L'opera fu commissionata dall'orafo Albrecht Glimm in memoria della prima moglie Margareth Holzmann, morta nel 1500. Una ridipintura, asportata nel 1924, ha rimesso in luce agli angoli le figure dei donatori (l'uomo e i tre figli) e della donna scomparsa, piccolissime rispetto ai soggetti sacri. Più che alla somiglianza fisiognomica l'individuazione dei committenti era per lo più affidata agli stemmi araldici che essi hanno vicini.
Il dipinto mostra il Gesù morto, tenuto in braccio da Giuseppe d'Arimatea e circondato dalle pie donne, tra cui una Maria anziana e sconvolta. Nella parte destra sono raffigurati tre personaggi in piedi su una linea diagonale: dall'alto, San Giovanni Evangelista, Maria Maddalena e Nicodemo, questi ultimi reggono due vasi contenenti i balsami utilizzati per preparare il cadavere alla sepoltura.
The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500. The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three sons) and of the dead woman, depicted in far smaller proportions than the religious characters.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
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Albrecht Dürer (Nuremberg, May 21, 1471 - Nuremberg, April 6, 1528) - Paumgartner Altar (1496-1504) - oil on lime wood, dimensions 155x126 cm, the central compartment - 157x61 each of the side panels - Alte Pinakothek Monaco
È la più grande pala d'altare dell'artista. Il pannello centrale mostra l'Adorazione del Bambino, affiancata da due pannelli di santi cavalieri a tutta figura: a sinistra San Giorgio, col vessillo crociato e con il drago dalla testa mozza, a destra Sant'Eustachio, nella cui bandiera si vede la miracolosa apparizione a cui assistette durante una caccia, un crocifisso tra le corna di un cervo.
I committenti, come accade frequentemente in area tedesca, sono rappresentati minuscoli ai lati in primo piano del pannello centrale, con scudi araldici che ne chiariscano l'identificazione. A sinistra si vedono Martin Paumgartner con i figli Lukas e Stephan; a destra la moglie Barbara Volkamer con le figlie Maria e Barbara. Inoltre nei volti dei santi laterali, secondo un'antica tradizione, dovrebbero essere raffigurati rispettivamente Stephan e Lukas Paumgartner.
It is the largest altarpiece of the artist. The central panel shows the Adoration of the Child, flanked by two panels of full-length knight saints: on the left Saint George, with the crusader banner and the dragon with the severed head, on the right St. Eustachius, in whose flag you see the miraculous apparition he witnessed during a hunt, a crucifix in the horns of a deer.
The clients, as frequently happens in the German area, are represented minuscule on the foreground sides of the central panel, with heraldic shields that clarify their identification. On the left we see Martin Paumgartner with his sons Lukas and Stephan; on the right his wife Barbara Volkamer with his daughters Maria and Barbara. Furthermore, according to an ancient tradition, the faces of the lateral saints should be represented respectively by Stephan and Lukas Paumgartner.
A wonderful artist with a beautiful soul and deep humanism from Rwanda. The best thing about photography, besides the creativity, is meeting people like that, for which I am very grateful.
Un an de plus, 365 nouvelles opportunités pour nous améliorer comme personnes, comme espèce sur cette planète, pour choisir de nous diriger vers plus d'humanisme et de respect entre nous et envers tant d'autres espèces qui n'ont pas demandé á devoir nous cottoyer, nous supporter, avec qui nous pourrions vivre en harmonie avec moins d'ambitions personnelles, d'égocentrisme et d'anthropocentrisme. Bonne année et bonnes actions concrètes vers ce changement...
Un año mas, 365 nuevas oportunidades para mejorarnos como personas, como especie sobre este planeta, para escoger la dirección hacía mas humanismo y respeto entre nosotros, hacía tantas otras especies quienes nunca pidieron tener que interactuar con nosotros, que aguantarnos, con quienes podriamos vivir en armonia con menos ambición personal, menos ego y menos antropocentrismo. Felices año y nuevas acciones concretas hacía este cambio...
In the lyrics of songs and strong promotion of ideas saying
"we know ourselves better", "we have to follow our hearts"
"I know my heart", " I follow my heart", " follow the dictates
of my mind", "we can't go wrong " etc. corrupting the subconscious
and are well supported by ideas of humanism , rejecting theism and belief
of the supernatural hence the deity of God . In that I have no business, as
witnessing the supernatural intervention of God, myself can ever deny
the is God !
God is revealed in his creations . Take one simple aspect
of the blinking of your eye mechanism. This could have
been awkward if we have something like car windshield wipers.
Our eyelids were designed perfectly that it has semi-voluntary functions
as wipers, keeping our eyes moist, and also has natural sensors to avoid
harms way with the intricate complex network of nerve endings taking direct
signals from the brain.
I was frying egg and bacon one morning and comes the fat /moisture
explosion from which bits of sputter could have directly landed on
my most sensitive eye tissue ,
but with the involuntary protective blink , it instantaneously shields from direct
hit on most sensitive part of my eye, hitting only on outer skin layer
which stings a bit , injury to nil.
One minute aspect of perfectness of God's creation design
that we many of us easily forget.
.
He mold us perfectly with all the functions in our bodies
in harmony which can adequately cope with then external variables
we encounter .
I just don't understand why many people can't see God
in the beauty of is creations. Are their minds corrupted ?
Oh well God already called the unbelieving foolish :
Jeremiah 5:21
"'Now hear this, O foolish and senseless people, Who have
eyes but do not see; Who have ears but do not hear."
For this reason, of God's displeasure of these type of people
apart from their disbeliefs , they ridiculed and mocked God, their hearts
are hardened with disbelief , God will
send them very strong delusion that they'll keep believing the lie .
How precise is the word of God.
We can bring a donkey for a drink in the stream but we can't force
the donkey to drink. That's the truth of unbelief.
2 Thessalonians 2:11
"For this reason, God will send them a powerful delusion
so that they will believe the lie. "
For the evidence of the indisputable existence of God and of His word,
consulting the Lord in all my ways and leaning not alone
with my own understanding to know God's will.
I'm still way behind of sharing my testimonial experiences
which no doubt of God's intervention. But hope next time.
~~~~~~~~~~~<<~~~<@
Beautiful messages and testimonies to wake people up :
* 'The Millennium Chronicles with Douglas Hamp' By Tribulation-Now Radio, 15th Jan 2014
Possibly part of the great delusion that the unbelieving will believe this lie.
A lie that is coming that will ultimately reject the belief of God by which
these "Alien beings" /extraterrestrials would claim they're the creators and
as gods themselves. Does not the Book of ENOCH even describes fully this
event coming , not contradicting but affirming what was told in book of
Genesis?
*Are Extraterrestrial Races living with us on Earth ?(Secular )
Strange things do happen ... watch this .
Albrecht Dürer (Nuremberg, 21 May 1471 - Nuremberg, 6 April 1528) - Lamentation over the dead Christ - Beweinung Christi ("Glimsche Beweinung") (1500) - Oil on spruce wood 151.9 x 121.6 cm - Alte Pinakothek Munich
L'opera fu commissionata dall'orafo Albrecht Glimm in memoria della prima moglie Margareth Holzmann, morta nel 1500. Una ridipintura, asportata nel 1924, ha rimesso in luce agli angoli le figure dei donatori (l'uomo e i tre figli) e della donna scomparsa, piccolissime rispetto ai soggetti sacri. Più che alla somiglianza fisiognomica l'individuazione dei committenti era per lo più affidata agli stemmi araldici che essi hanno vicini.
Il dipinto mostra il Gesù morto, tenuto in braccio da Giuseppe d'Arimatea e circondato dalle pie donne, tra cui una Maria anziana e sconvolta. Nella parte destra sono raffigurati tre personaggi in piedi su una linea diagonale: dall'alto, San Giovanni Evangelista, Maria Maddalena e Nicodemo, questi ultimi reggono due vasi contenenti i balsami utilizzati per preparare il cadavere alla sepoltura.
The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500. The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three sons) and of the dead woman, depicted in far smaller proportions than the religious characters.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and distraught Mary. In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.
I'm more and more trying to achieve some style between humanism (Doisneaux, Izis, Brasaï...) and abstract pictorialism (Stieglietz, Alvin Langdon Coburn...), which is somewhat a paradox in first place! But that's my way i guess.
Anyway like things to look not from now!
Instagram: www.instagram.com/oriotophotography
Explored Feb 10, 2011 #10
Albrecht Dürer (Nuremberg, May 21, 1471 - Nuremberg, April 6, 1528) - Suicide of Lucrezia (1518) - oil on lime wood, dimensions 168 x 74 cm. - Alte Pinakothek Monaco
Probabilmente l'opera venne concepita molti anni prima, come farebbe pensare un disegno datato 1508 oggi all'Albertina di Vienna. Lo schizzo e poi la tavola a grandezza pressoché naturale si ricollegavano agli studi sulla proporzione, culminati nel 1507 con le tavole di Adamo ed Eva. L'opera non godette di grande successo. Allargato il drappo che le copriva i fianchi nel XVII secolo, venne occultata a lungo dietro un'altra Lucrezia di Cranach il Vecchio.
A causa delle numerose divergenze e discordanze nelle proporzioni e dell'espressione della figura, più grottesca che drammatica, la critica l'ha spesso definita "l'opera più impopolare di Dürer". Anzelewsky la descrisse come "una parodia piuttosto che un'esaltazione della figura classica femminile". Nonostante ciò il lavoro di Dürer ha riscosso anche ammirazione, come l'omaggio che nel 1922 le rese Giorgio de Chirico, appassionato frequentatore dell'Alte Pinakothek, che ne riprese il gesto di autoferirsi in una sua opera.
The work was probably conceived many years earlier, as a drawing dated 1508 today at the Albertina in Vienna would suggest. The sketch and then the almost natural size table were linked to the studies on proportion, which culminated in 1507 with the plates of Adam and Eve. The work was not very successful. Enlarged the cloth that covered her hips in the seventeenth century, she was concealed for a long time behind another Lucretia of Cranach the Elder.
Because of the numerous differences and discrepancies in the proportions and the expression of the figure, more grotesque than dramatic, criticism has often called it "Dürer's most unpopular work". Anzelewsky described it as "a parody rather than an exaltation of the classical female figure". Despite this, Dürer's work has also attracted admiration, such as the tribute that in 1922 made Giorgio de Chirico, a passionate visitor to the Alta Pinakothek, who took up the gesture of self-indulging in one of his works.
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Transhumanism (abbreviated as H+ or h+) is an international and intellectual movement that aims to transform the human condition by developing and creating widely available sophisticated technologies to greatly enhance human intellectual, physical, and psychological capacities.Transhumanist thinkers study the potential benefits and dangers of emerging technologies that could overcome fundamental human limitations, as well as the ethics[3] of using such technologies.The most common thesis is that human beings may eventually be able to transform themselves into different beings with abilities so greatly expanded from the natural condition as to merit the label of posthuman beings.The contemporary meaning of the term transhumanism was foreshadowed by one of the first professors of futurology, FM-2030, who taught "new concepts of the human" at The New School in the 1960s, when he began to identify people who adopt technologies, lifestyles and worldviews "transitional" to posthumanity as "transhuman".This hypothesis would lay the intellectual groundwork for the British philosopher Max More to begin articulating the principles of transhumanism as a futurist philosophy in 1990 and organizing in California an intelligentsia that has since grown into the worldwide transhumanist movement.
The year 1990 is seen as a "fundamental shift" in human existence by the transhuman community, as the first gene therapy trial,[8] the first designer babies,[9] as well as the mind-augmenting World Wide Web all emerged in that year. In many ways, one could argue the conditions that will eventually lead to the Singularity were set in place by these events in 1990.[original research?]Influenced by seminal works of science fiction, the transhumanist vision of a transformed future humanity has attracted many supporters and detractors from a wide range of perspectives including philosophy and religion.Transhumanism has been characterized by one critic, Francis Fukuyama, as among the world's most dangerous ideas,to which Ronald Bailey countered that it is rather the "movement that epitomizes the most daring, courageous, imaginative and idealistic aspirations of humanity".
en.wikipedia.org/wiki/Transhumanism
What does it mean to be human? Biology has a simple answer: If your DNA is consistent with Homo sapiens, you are human — but we all know that humanity is a lot more complex and nuanced than that. Other schools of science might classify humans by their sociological or psychological behavior, but again we know that actually being human is more than just the sum of our thoughts and actions. You can also look at being human as a sliding scale. If you were to build a human from scratch, from the bottom up, at some point you cross the threshold into humanity — if you believe in evolution, at some point we ceased being a great ape and became human. Likewise, if you slowly remove parts from a human, you cross the threshold into inhumanity. Again, though, we run into the same problem: How do we codify, classify, and ratify what actually makes us human?Does adding empathy make us human? Does removing the desire to procreate make us inhuman? If I physically alter my brain to behave in a different, non-standard way, am I still human? If I have all my limbs removed and my head spliced onto a robot, am I still human? (See: Upgrade your ears: Elective auditory implants give you cyborg hearing.) At first glance these questions might sound inflammatory and hyperbolic, or perhaps surreal and sci-fi, but don’t be fooled: In the next decade, given the continued acceleration of computer technology and biomedicine, we will be forced to confront these questions and attempt to find some answers.
Transhumanism is a cultural and intellectual movement that believes we can, and should, improve the human condition through the use of advanced technologies. One of the core concepts in transhumanist thinking is life extension: Through genetic engineering, nanotech, cloning, and other emerging technologies, eternal life may soon be possible. Likewise, transhumanists are interested in the ever-increasing number of technologies that can boost our physical, intellectual, and psychological capabilities beyond what humans are naturally capable of (thus the term transhuman). Transcranial direct current stimulation (tDCS), for example, which speeds up reaction times and learning speed by running a very weak electric current through your brain, has already been used by the US military to train snipers. On the more extreme side, transhumanism deals with the concepts of mind uploading (to a computer), and what happens when we finally craft a computer with greater-than-human intelligence (the technological singularity). (See: How to create a mind, or die trying.Beyond the obvious benefits of eternal life or superhuman strength, transhumanism also investigates the potential dangers and ethical pitfalls of human enhancement. In the case of life extension, if every human on Earth suddenly stopped dying, overpopulation would trigger a very rapid and very dramatic socioeconomic disaster. Unless we stopped giving birth to babies, of course, but that merely rips open another can of worms: Without birth and death, would society and humanity continue to grow and evolve, or would it stagnate, suffocated by the accumulated ego of intellectuals and demagogues who just will not die? Likewise, if only the rich have access to intelligence- and strength-boosting drugs and technologies, what would happen to society? Should everyone have the right to boost their intellect? Would society still operate smoothly if everyone had an IQ of 300 and five doctorate degrees?As you can see, things get complicated quickly when discussing transhumanist ideas — and life extension and augmented intelligence and strength are just the tip of the iceberg! This philosophical and ethical complexity stems from the fact that transhumanism is all about fusing humans with technology — and technology is advancing, improving, and breaking new ground very, very quickly. Humans have always used technology, of course — our ability to use tools and grasp concepts such as science and physics are what set us apart from other animals — but never has society been so intrinsically linked and underpinned by it. As we have seen in just the last few years, with the advent of the smartphone and ubiquitous high-speed mobile networks, just a handful of new technologies now have the power to completely change how we interact with the the world and people around us..Humans, on the other hand, and the civilizations that they build, move relatively slowly. It took us millions of years to discover language, and thousands more to discover medicine and the scientific method. In the few thousand years since, up until the last century or so, we doubled the human life span, but neurology and physiology were impenetrable black boxes. In just the last 100 years, we’ve doubled our life span again, created bionic eyes and powered exoskeletons, begun to understand how the human brain actually works, and started to make serious headway with boosting intellectual and physical prowess. We’ve already mentioned how tDCS is being used to boost cranial capacity, and as we’ve seen in recent years, sportspeople have definitely shown the efficacy of physical doping.An early television: It would've seemed incredibly alien to our grandparentsIt is due to this jarring juxtaposition — the historical slowness of human and societal evolution vs. the breakneck pace of modern technology — that many find transhumanism to be unpalatable. After all, as I’ve described it here, transhumanism is almost the very definition of unnatural. You’re quite within your rights to find transhumanism a bit, well, weird. And it is weird, don’t get me wrong — but so are most emerging technologies. Do you think that your great grandparents weren’t wigged out by the first television sets? Before it garnered the name “television,” one of its inventors gave it the rather spooky name of “distant electric vision.” Can you imagine the wariness in which passengers approached the first steam trains? Vast mechanical beasts that could pull hundreds of tons and moved far faster than the humble — but state-of-the-art — horse and carriage.The uneasiness that surround new, paradigm-shifting technologies isn’t new, and it has only been amplified by the exponential acceleration of technology that has occurred during our lifetime. If you were born 500 years ago, odds are that you wouldn’t experience a single societal-shifting technology in your lifetime — today, a 40 year old will have lived through the creation of the PC, the internet, the smartphone, and brain implants, to name just a few life-changing technologies. It is unsettling, to say the least, to have the rug repeatedly pulled out from under you, especially when it’s your livelihood at stake. Just think about how many industries and jobs have been obliterated or subsumed by the arrival of the digital computer, and it’s easy to see why we’re wary of transhumanist technologies that will change the very fabric of human civilization.The good news, though, is that humans are almost infinitely adaptable. While you or I might balk at the idea of a brain-computer interface that allows us to download our memories to a PC, and perhaps upload new memories a la The Matrix, our children — who can use smartphones at the age of 24 months, and communicate chiefly through digital means — will probably think nothing of it. For the children of tomorrow, living through a series of disruptive technologies that completely change their lives will be the norm. There might still be some resistance when I opt to have my head spliced onto a robotic exoskeleton, but within a generation children will be used to seeing Iron Seb saving people from car crashes and flying alongside airplanes.The fact of the matter is that transhumanism is just a modern term for an age-old phenomenon. We have been augmenting our humanity — our strength, our wisdom, our empathy — with tools since prehistory. We have always been spooked by technologies that seem unnatural or that cause us to act in inhuman ways — it’s simply human nature. That all changes with the children of today, however. To them, anything that isn’t computerized, digital, and touch-enabled seems unnatural. To them, the smartphone is already an extension of the brain; to them, mind uploading, bionic implants and augmentations, and powered exoskeletons will just be par for the course. To them, transhumanism will just seem like natural evolution — and anyone who doesn’t follow suit, just like those fuddy-duddies who still don’t have a smartphone, will seem thoroughly inhuman.
www.extremetech.com/extreme/152240-what-is-transhumanism-...
Humanity+ is an international nonprofit membership organization that advocates the ethical use of technology to expand human capacities. In other words, we want people to be better than well.Our Humanity+ conferences explore innovations of science and technology and their relationship to humanity. Recent conferences have been held at San Francisco State University, Polytechnic University in Hong Kong, Parsons The New School for Design in New York City, California Technology Institute, and Harvard University.
humanityplus.org/?gclid=Cj0KEQjwipi4BRD7t6zGl6m75IgBEiQAn...
Humanism is a philosophical and ethical stance that emphasizes the value and agency of human beings, individually and collectively, and generally prefers critical thinking and evidence (rationalism, empiricism) over acceptance of dogma or superstition. The meaning of the term humanism has fluctuated according to the successive intellectual movements which have identified with it.Generally, however, humanism refers to a perspective that affirms some notion of human freedom and progress. In modern times, humanist movements are typically aligned with secularism, and today humanism typically refers to a non-theistic life stance centred on human agency and looking to science rather than revelation from a supernatural source to understand the world.[
Albrecht Dürer (Nuremberg, May 21, 1471 - Nuremberg, April 6, 1528) - Paumgartner Altar (1496-1504) - oil on lime wood, dimensions 155x126 cm, the central compartment - 157x61 each of the side panels - Alte Pinakothek Monaco
È la più grande pala d'altare dell'artista. Il pannello centrale mostra l'Adorazione del Bambino, affiancata da due pannelli di santi cavalieri a tutta figura: a sinistra San Giorgio, col vessillo crociato e con il drago dalla testa mozza, a destra Sant'Eustachio, nella cui bandiera si vede la miracolosa apparizione a cui assistette durante una caccia, un crocifisso tra le corna di un cervo.
I committenti, come accade frequentemente in area tedesca, sono rappresentati minuscoli ai lati in primo piano del pannello centrale, con scudi araldici che ne chiariscano l'identificazione. A sinistra si vedono Martin Paumgartner con i figli Lukas e Stephan; a destra la moglie Barbara Volkamer con le figlie Maria e Barbara. Inoltre nei volti dei santi laterali, secondo un'antica tradizione, dovrebbero essere raffigurati rispettivamente Stephan e Lukas Paumgartner.
It is the largest altarpiece of the artist. The central panel shows the Adoration of the Child, flanked by two panels of full-length knight saints: on the left Saint George, with the crusader banner and the dragon with the severed head, on the right St. Eustachius, in whose flag you see the miraculous apparition he witnessed during a hunt, a crucifix in the horns of a deer.
The clients, as frequently happens in the German area, are represented minuscule on the foreground sides of the central panel, with heraldic shields that clarify their identification. On the left we see Martin Paumgartner with his sons Lukas and Stephan; on the right his wife Barbara Volkamer with his daughters Maria and Barbara. Furthermore, according to an ancient tradition, the faces of the lateral saints should be represented respectively by Stephan and Lukas Paumgartner.
The Prophets Of Ion - Ion Mystical World - New Symbol by Daniel Arrhakis (2024)
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The Prophets of Ion / Ion Mystical World is a humanistic and artistic theosophical movement created by Daniel Arrhakis in 2016 whose main objective is to defend natural spirituality as a constitutive dimension of the human being and its balance with the natural world and the universe of which we are all part.
This movement aims to contribute to an inclusive and more shared future using mystical and scientific knowledge, art and the protection of nature as the main bases to transform the world into a more shared spiritual and humanized economy, in which the progress of society and the preservation of nature can coexist.
It also has a more practical and socio-political sense through the Humanistic Mystic Movement created in 2018, that begun with some artists and wants to promote the discussion of mystic themes for a different vision of our contemporary society.
The scientific and humanistic education is thus linked to spirituality with the recognition of man as a spiritual being (independent of religion or creed in which he believes).
In this concept, the Spiritual Man is a promoter of a more inclusive, participatory, environmentally friendly, but also humanistic society. One cannot conceive of a humanism without its intrinsic natural spirituality.
This movement is also for those Resistants who struggle with Art, Words, Tolerance, Sharing, Faith, Courage and Love in their hearts to make a difference in favor of a Spirituality with respect for Democracy and Freedom.
If the Prophets of Ion and Ion Mystical World are the mystical dimension, the Humanistic Mystical Movement is the socio-political and spiritual dimension of the transformation of the World through art, knowledge and spirituality.
_______________________________________________________________________
Os Profetas de Ion é um movimento teosófico humanístico e artístico criado por Daniel Arrhakis em 2016 cujo principal objetivo é defender a espiritualidade natural como dimensão constitutiva do ser humano e o seu equilíbrio com o mundo natural e o universo do qual todos fazemos parte.
Este movimento visa contribuir para um futuro inclusivo e mais compartilhado utilizando o conhecimento místico e científico, a arte e a proteção da natureza como bases para transformar o mundo em uma economia espiritual e humanizada mais compartilhada, na qual o progresso da sociedade e a preservação da natureza possa coexistir.
Tem também um sentido mais prático e sociopolítico através do Movimento Místico Humanista criado em 2018, que começou com alguns artistas e pretende promover a discussão de temas místicos para uma visão diferente da nossa sociedade contemporânea.
A educação científica e humanística está assim ligada à espiritualidade com o reconhecimento do homem como ser espiritual (independente da religião ou credo em que acredita).
Neste conceito, o Homem Espiritual é promotor de uma sociedade mais inclusiva, participativa, amiga do ambiente, mas também humanista. Não se pode conceber um humanismo sem sua espiritualidade natural intrínseca.
Este movimento é também para aqueles Resistentes que lutam com Arte, Palavras, Tolerância, Compartilhamento, Fé, Coragem e Amor em seus corações para fazer a diferença em favor de uma Espiritualidade com respeito pela Democracia e a Liberdade.
Se os Profetas de Íon e O Mundo Místico De Ion são a dimensão mística, o Movimento Místico Humanístico é a dimensão sociopolítica e espiritual da transformação do Mundo através da arte, do conhecimento e da espiritualidade.
Nikon L35AD2
Expired 2005 Ilford Pan-F 50
Promicrol 1:14 for 15 Minutes
Continuous rotation via Jobo
Epson F3200
rumble.com/v2s0gp8-plandemic-3-the-great-awakening-full-u...
TIME TO AWAKEN.
Does it ring any bells? Is this you? Did you get caught up in it all? Time to work together. Black White Yellow Catholic Protestant Muslim Man and Woman and so on. We are all different...THAT is good. Symbiosis. No one is to blame, Played, we were all Played. Now it's our time to PLAY. GAME ON PEOPLE.
Albrecht Dürer (Nuremberg, May 21, 1471 - Nuremberg, April 6, 1528) - Paumgartner Altar (1496-1504) - oil on lime wood, dimensions 155x126 cm, the central compartment - 157x61 each of the side panels - Alte Pinakothek Monaco
È la più grande pala d'altare dell'artista. Il pannello centrale mostra l'Adorazione del Bambino, affiancata da due pannelli di santi cavalieri a tutta figura: a sinistra San Giorgio, col vessillo crociato e con il drago dalla testa mozza, a destra Sant'Eustachio, nella cui bandiera si vede la miracolosa apparizione a cui assistette durante una caccia, un crocifisso tra le corna di un cervo.
I committenti, come accade frequentemente in area tedesca, sono rappresentati minuscoli ai lati in primo piano del pannello centrale, con scudi araldici che ne chiariscano l'identificazione. A sinistra si vedono Martin Paumgartner con i figli Lukas e Stephan; a destra la moglie Barbara Volkamer con le figlie Maria e Barbara. Inoltre nei volti dei santi laterali, secondo un'antica tradizione, dovrebbero essere raffigurati rispettivamente Stephan e Lukas Paumgartner.
It is the largest altarpiece of the artist. The central panel shows the Adoration of the Child, flanked by two panels of full-length knight saints: on the left Saint George, with the crusader banner and the dragon with the severed head, on the right St. Eustachius, in whose flag you see the miraculous apparition he witnessed during a hunt, a crucifix in the horns of a deer.
The clients, as frequently happens in the German area, are represented minuscule on the foreground sides of the central panel, with heraldic shields that clarify their identification. On the left we see Martin Paumgartner with his sons Lukas and Stephan; on the right his wife Barbara Volkamer with his daughters Maria and Barbara. Furthermore, according to an ancient tradition, the faces of the lateral saints should be represented respectively by Stephan and Lukas Paumgartner.