View allAll Photos Tagged pyrrha
Sullivans Elementary School students enjoy a living museum filled with important people of Hispanic Origin. The Living Museum was presented by students from the Foreign Languages in Elementary School (FLES) program at Sullivans. The Living Museum honored Hispanic Heritage Month. It was arranged and organized by Sullivans FLES teachers Pyrrha Rivers and Veronica Sandoval as part of Yokosuka Navy Base’s celebration of Hispanic Heritage Month.
Sullivans Elementary School students enjoy a living museum filled with important people of Hispanic Origin. The Living Museum was presented by students from the Foreign Languages in Elementary School (FLES) program at Sullivans. The Living Museum honored Hispanic Heritage Month. It was arranged and organized by Sullivans FLES teachers Pyrrha Rivers and Veronica Sandoval as part of Yokosuka Navy Base’s celebration of Hispanic Heritage Month.
Sullivans Elementary School students enjoy a living museum filled with important people of Hispanic Origin. The Living Museum was presented by students from the Foreign Languages in Elementary School (FLES) program at Sullivans. The Living Museum honored Hispanic Heritage Month. It was arranged and organized by Sullivans FLES teachers Pyrrha Rivers and Veronica Sandoval as part of Yokosuka Navy Base’s celebration of Hispanic Heritage Month.
Deux œuvres de 1504-1506 environ du Maestro di Serumido (actif à Florence entre 1500 et 1530.
A gauche : "Le conseil des dieux décide de punir l'humanité avec le Déluge" ; à droite : "La renaissance de l'humanité à partir de pierres lancées par Deucalion et Pyrrha".
Le peintre anonyme de ces deux œuvres monochromes au dos des portraits de Doni s'est formé au début du XVIe siècle à Florence et porte le nom de l'église florentine de Serumido, qui abrite son chef-d'œuvre. Les deux épisodes sont extraits des Métamorphoses d'Ovide. Après le déluge ordonné par les dieux pour punir l'humanité de son iniquité, les justes Deucalion et Pyrrha, qui avaient été épargnés, régénérent la race humaine en jetant des pierres sur leurs épaules, qui se sont transforment rapidement en hommes et en femmes. On pensait que cela était de bon augure pour la fécondité des couples mariés.
Two works from around 1504-1506 by the Maestro di Serumido (active in Florence between 1500 and 1530.
Left: "The council of the gods decides to punish humanity with the Flood" ; right : "The rebirth of mankind from stones thrown by Deucalion and Pyrrha".
The anonymous painter of these two monochrome works on the back of the Doni portraits trained in early 16th century Florence and is named after the Florentine church of Serumido, which houses his masterpiece. The two episodes are taken from Ovid's Metamorphoses. After the Flood ordained by the gods to punish mankind for its iniquity, the righteous Deucalion and Pyrrha, who had been spared, regenerated the human race by throwing stones over their shoulders, which promptly turned into men and women. The them was thought to bode well for married couples' fertility.
Action, Romance and the Colour Red! ... first set of these awesome lot in their RWBY - Battlefield crossover Cosplay :D
Cosplayers / Characters:
Weiss Schnee - Clio
Jaune Arc - Outlaw Cosplay
Pyrrha Nikos - Riot Cosplay
Series:
RWBY / Battlefield
Please Credit So Say We All Here: www.facebook.com/sosayweallfaramon
Original Artwork here: ssgt-lulz.deviantart.com/
#Cosplay #RWBY #Battlefield #Crossover #Military #Anime
Action, Romance and the Colour Red! ... first set of these awesome lot in their RWBY - Battlefield crossover Cosplay :D
Cosplayers / Characters:
Weiss Schnee - Clio
Jaune Arc - Outlaw Cosplay
Pyrrha Nikos - Riot Cosplay
Series:
RWBY / Battlefield
Please Credit So Say We All Here: www.facebook.com/sosayweallfaramon
Original Artwork here: ssgt-lulz.deviantart.com/
#Cosplay #RWBY #Battlefield #Crossover #Military #Anime
Sullivans Elementary School students enjoy a living museum filled with important people of Hispanic Origin. The Living Museum was presented by students from the Foreign Languages in Elementary School (FLES) program at Sullivans. The Living Museum honored Hispanic Heritage Month. It was arranged and organized by Sullivans FLES teachers Pyrrha Rivers and Veronica Sandoval as part of Yokosuka Navy Base’s celebration of Hispanic Heritage Month.
Sullivans Elementary School students enjoy a living museum filled with important people of Hispanic Origin. The Living Museum was presented by students from the Foreign Languages in Elementary School (FLES) program at Sullivans. The Living Museum honored Hispanic Heritage Month. It was arranged and organized by Sullivans FLES teachers Pyrrha Rivers and Veronica Sandoval as part of Yokosuka Navy Base’s celebration of Hispanic Heritage Month.
Character: Pyrrha Nikos / Jaune Arc
Source: RWBY
Cosplay: crimsonhawkecosplay / isababely
©2018 Kelvin Si
All Rights Reserved
You must have my express written permission prior to any use, whether in whole or in part.
Haha this is the only good shot from this little bit, I don't think I've had more equipment failures in a row .. everything that could go wrong .. went wrong xDDD ... at least this shot came out salvageable xD
Cosplayer: Riot Cosplay
Character: Pyrrha Nikos
Series: RWBY / Battlefield
Please Credit So Say We All Here: www.facebook.com/sosayweallfaramon
Original Artwork here: ssgt-lulz.deviantart.com/
#Cosplay #RWBY #Battlefield #Crossover #Military #Anime
Arizona burlesque troupe Scandalesque performing their new show "High Rise" at Venue 104 in Tempe, Arizona.
Arizona burlesque troupe Scandalesque performing their new show "High Rise" at Venue 104 in Tempe, Arizona.
Sweater: Fossil
Jumper: Old Navy
Belt:Fossil
Shirt: J Crew
Tights: HUE
Saddle shoes: Bass
Necklaces: Pyrrha, exex
Europe 2018 (day 5), August 19, 2018.
Firenze / Florence.
Galleria degli Uffizi / Uffizi Gallery.
Il consiglio degli dei di punire l'umanita con il Diluvio; la rinascita dell'umanita salle pietre gettate de Deucalione e Pirra / The coucil of the gods decides to punish humanity with the flood; the rebirth of humanity from stones thrown by Deucakion and Pyrrha (c. 1504-1506) / Maestro di Serumido (active c. 150-1530); on the reverse is the Ritratti di Agnolo Doni e Maddalena Strozzi / Portraits of Agnolo Doni amd Maddalena Strozzi (c. 1504-1506) / Raffaello Sanzio (1483-1520).
©2018 - Lewis Brian Day. All rights reserved.
Not to be reproduced in any format or via any platform without express written permission.
Copyright protection asserted.
Character: Pyrrha Nikos / Jaune Arc
Source: RWBY
Cosplay: crimsonhawkecosplay / isababely
©2018 Kelvin Si
All Rights Reserved
You must have my express written permission prior to any use, whether in whole or in part.
Scandalesque Burlesque Company performing their new show "Birds of a Feather" at the Crescent ballroom in Phoenix, Arizona on 03/02/2012.
The two paintings portray Agnolo Doni (1474-1539), a rich fabric merchant and prominent figure among the Florentine upper class, and his wife, noblewoman Maddalena Strozzi (1489-1540), who married on 31 January 1504. According to Giorgio Vasari (Le Vite, Edizione Giuntina 1568) the works were commissioned to Raphael by Agnolo: “Whilst he was living in Florence, Agnolo Doni, who was very careful with his money in other things but willing to spend it, although still with the greatest possible economy - on works of painting and sculpture, in which he much delighted, asked him [Raphael] to make portraits of himself and of his wife; these may be seen in the possession of Giovan Battista, his son, in the beautiful and most comfortable house of Agnolo, on Corso de’ Tintori, near the Canto degli Alberti, in Florence.” Agnolo also commissioned the round painting of the Holy Family, known as the Tondo Doni, to Michelangelo Buonarroti. Both portraits were painted en pendant and originally formed a diptych, held together by hinges that made it possible to look at the scenes painted on the backs. These are two episodes, one a consequence of the other, taken from Ovid’s Metamorphoses: The Flood, on the back of Agnolo’s portrait, and the following rebirth of humanity thanks to Deucalion and Pyrrha, on the back of the portrait of Maddalena. These stories, painted in monochrome, were the work of a colleague of the young Raphael, whose identity remains anonymous but who is thought to be the so-called Maestro di Serumido, a figure identified by Federico Zeri, who attributed a group of works in similar style to this same artist. The choice to paint the works in black and white reflects a taste for the Flemish styles that were popular in 15th- and 16th-century Florence, where the panels of diptychs and triptychs would traditionally have monochrome decorations on the back. The two scenes are to be interpreted as allegories that seem to wish fertility to the marriage. Ovid narrates how the gods allowed Deucalion and Pyrrha, an elderly couple without children to save themselves from the flood and to restore life to mankind after it. On the order of Zeus, the pair threw stones over their shoulders, and once they touched the oil, the stones became people – the ones thrown by Deucalion became men and the ones thrown by Pyrrha, women. These references strengthen the theory, put forward by the majority of critics, that the portraits were commissioned for the marriage of the young couple, dating them to somewhere between 1504 and 1506, the year in which the furniture for the Donis’ marriage chamber was completed by Francesco del Tasso and Morto da Feltre.
The first of the portraits by Raphael was that of Maddalena: radiographic analysis has shown that he made changes to background, initially conceived to be an interior, so that it overlooked a landscape through a side opening, while the portrait of Agnolo was directly inserted into the landscape, creating visual continuity with that of his bride. These two masterpieces mark an essential stage not only in Raphael’s art, but also in the tradition of Florentine portraiture which, by developing solutions previously formulated by Verrocchio in the Woman with Flowers, and by Leonardo in the Mona Lisa, come to a new natural style of half-bust presentation. The links to the Mona Lisa are so close as to lead one to think that Raphael was himself able to study it in Florence, at least towards the end of 1504. Raphael distances himself from Leonardo’s model by preferring to use a solid, clear approach to space, lowering the horizon behind the figures and bringing them strongly to the foreground, according to models influenced by his own teacher, Pietro Perugino and by the Flemish painters of the late 15th century, such as Hans Memling. The fascinating use of the sfumato technique, as seen on the Mona Lisa has been replaced by an absolutely clear use of shape and colour, by a descriptive language that pauses on the detailed portrayal of the faces, fabrics and jewels. Maddalena’s pendant is particularly significant, formed by a gold, unicorn-shaped mount and three precious stones (ruby, emerald and sapphire), and by a pearl, an element that alludes to virginal purity and marital fidelity.
In Vasari’s period, the portraits were still in the family home in Corso Tintori, where they were seen by Raffaello Borghini (1584) and Giovanni Cinelli (1667). From this date, there is not much information about them. They most definitely remained with the Doni family if, in 1826, Leopold II Grand Duke of Tuscany was able to buy them from the heirs and add them to the collection of paintings he was creating in the Palatine Gallery in Palazzo Pitti. Since 5 June 2018, the Doni portraits have been displayed in the Uffizi Galleries alongside Michelangelo’s Tondo Doni, hung on new supports that allow the stories on their reverse sides to be admired.
Images of items in their collection.
Portrait Maddalena Doni
c. 1504-1507
Oil on basswood panel
Raffaello Sanzio (Urbino 1483 – Rome 1520) and Maestro di Serumido
"The two paintings portray Agnolo Doni (1474-1539), a rich fabric merchant and prominent figure among the Florentine upper class, and his wife, noblewoman Maddalena Strozzi (1489-1540), who married on 31 January 1504. According to Giorgio Vasari (Le Vite, Edizione Giuntina 1568) the works were commissioned to Raphael by Agnolo: “Whilst he was living in Florence, Agnolo Doni, who was very careful with his money in other things but willing to spend it, although still with the greatest possible economy - on works of painting and sculpture, in which he much delighted, asked him [Raphael] to make portraits of himself and of his wife; these may be seen in the possession of Giovan Battista, his son, in the beautiful and most comfortable house of Agnolo, on Corso de’ Tintori, near the Canto degli Alberti, in Florence.” Agnolo also commissioned the round painting of the Holy Family, known as the Tondo Doni, to Michelangelo Buonarroti. Both portraits were painted en pendant and originally formed a diptych, held together by hinges that made it possible to look at the scenes painted on the backs. These are two episodes, one a consequence of the other, taken from Ovid’s Metamorphoses: The Flood, on the back of Agnolo’s portrait, and the following rebirth of humanity thanks to Deucalion and Pyrrha, on the back of the portrait of Maddalena. These stories, painted in monochrome, were the work of a colleague of the young Raphael, whose identity remains anonymous but who is thought to be the so-called Maestro di Serumido, a figure identified by Federico Zeri, who attributed a group of works in similar style to this same artist. The choice to paint the works in black and white reflects a taste for the Flemish styles that were popular in 15th- and 16th-century Florence, where the panels of diptychs and triptychs would traditionally have monochrome decorations on the back. The two scenes are to be interpreted as allegories that seem to wish fertility to the marriage. Ovid narrates how the gods allowed Deucalion and Pyrrha, an elderly couple without children to save themselves from the flood and to restore life to mankind after it. On the order of Zeus, the pair threw stones over their shoulders, and once they touched the oil, the stones became people – the ones thrown by Deucalion became men and the ones thrown by Pyrrha, women. These references strengthen the theory, put forward by the majority of critics, that the portraits were commissioned for the marriage of the young couple, dating them to somewhere between 1504 and 1506, the year in which the furniture for the Donis’ marriage chamber was completed by Francesco del Tasso and Morto da Feltre.
The first of the portraits by Raphael was that of Maddalena: radiographic analysis has shown that he made changes to background, initially conceived to be an interior, so that it overlooked a landscape through a side opening, while the portrait of Agnolo was directly inserted into the landscape, creating visual continuity with that of his bride. These two masterpieces mark an essential stage not only in Raphael’s art, but also in the tradition of Florentine portraiture which, by developing solutions previously formulated by Verrocchio in the Woman with Flowers, and by Leonardo in the Mona Lisa, come to a new natural style of half-bust presentation. The links to the Mona Lisa are so close as to lead one to think that Raphael was himself able to study it in Florence, at least towards the end of 1504. Raphael distances himself from Leonardo’s model by preferring to use a solid, clear approach to space, lowering the horizon behind the figures and bringing them strongly to the foreground, according to models influenced by his own teacher, Pietro Perugino and by the Flemish painters of the late 15th century, such as Hans Memling. The fascinating use of the sfumato technique, as seen on the Mona Lisa has been replaced by an absolutely clear use of shape and colour, by a descriptive language that pauses on the detailed portrayal of the faces, fabrics and jewels. Maddalena’s pendant is particularly significant, formed by a gold, unicorn-shaped mount and three precious stones (ruby, emerald and sapphire), and by a pearl, an element that alludes to virginal purity and marital fidelity.
In Vasari’s period, the portraits were still in the family home in Corso Tintori, where they were seen by Raffaello Borghini (1584) and Giovanni Cinelli (1667). From this date, there is not much information about them. They most definitely remained with the Doni family if, in 1826, Leopold II Grand Duke of Tuscany was able to buy them from the heirs and add them to the collection of paintings he was creating in the Palatine Gallery in Palazzo Pitti. Since 5 June 2018, the Doni portraits have been displayed in the Uffizi Galleries alongside Michelangelo’s Tondo Doni, hung on new supports that allow the stories on their reverse sides to be admired."
The Uffizi Gallery
The two paintings portray Agnolo Doni (1474-1539), a rich fabric merchant and prominent figure among the Florentine upper class, and his wife, noblewoman Maddalena Strozzi (1489-1540), who married on 31 January 1504. According to Giorgio Vasari (Le Vite, Edizione Giuntina 1568) the works were commissioned to Raphael by Agnolo: “Whilst he was living in Florence, Agnolo Doni, who was very careful with his money in other things but willing to spend it, although still with the greatest possible economy - on works of painting and sculpture, in which he much delighted, asked him [Raphael] to make portraits of himself and of his wife; these may be seen in the possession of Giovan Battista, his son, in the beautiful and most comfortable house of Agnolo, on Corso de’ Tintori, near the Canto degli Alberti, in Florence.” Agnolo also commissioned the round painting of the Holy Family, known as the Tondo Doni, to Michelangelo Buonarroti. Both portraits were painted en pendant and originally formed a diptych, held together by hinges that made it possible to look at the scenes painted on the backs. These are two episodes, one a consequence of the other, taken from Ovid’s Metamorphoses: The Flood, on the back of Agnolo’s portrait, and the following rebirth of humanity thanks to Deucalion and Pyrrha, on the back of the portrait of Maddalena. These stories, painted in monochrome, were the work of a colleague of the young Raphael, whose identity remains anonymous but who is thought to be the so-called Maestro di Serumido, a figure identified by Federico Zeri, who attributed a group of works in similar style to this same artist. The choice to paint the works in black and white reflects a taste for the Flemish styles that were popular in 15th- and 16th-century Florence, where the panels of diptychs and triptychs would traditionally have monochrome decorations on the back. The two scenes are to be interpreted as allegories that seem to wish fertility to the marriage. Ovid narrates how the gods allowed Deucalion and Pyrrha, an elderly couple without children to save themselves from the flood and to restore life to mankind after it. On the order of Zeus, the pair threw stones over their shoulders, and once they touched the oil, the stones became people – the ones thrown by Deucalion became men and the ones thrown by Pyrrha, women. These references strengthen the theory, put forward by the majority of critics, that the portraits were commissioned for the marriage of the young couple, dating them to somewhere between 1504 and 1506, the year in which the furniture for the Donis’ marriage chamber was completed by Francesco del Tasso and Morto da Feltre.
The first of the portraits by Raphael was that of Maddalena: radiographic analysis has shown that he made changes to background, initially conceived to be an interior, so that it overlooked a landscape through a side opening, while the portrait of Agnolo was directly inserted into the landscape, creating visual continuity with that of his bride. These two masterpieces mark an essential stage not only in Raphael’s art, but also in the tradition of Florentine portraiture which, by developing solutions previously formulated by Verrocchio in the Woman with Flowers, and by Leonardo in the Mona Lisa, come to a new natural style of half-bust presentation. The links to the Mona Lisa are so close as to lead one to think that Raphael was himself able to study it in Florence, at least towards the end of 1504. Raphael distances himself from Leonardo’s model by preferring to use a solid, clear approach to space, lowering the horizon behind the figures and bringing them strongly to the foreground, according to models influenced by his own teacher, Pietro Perugino and by the Flemish painters of the late 15th century, such as Hans Memling. The fascinating use of the sfumato technique, as seen on the Mona Lisa has been replaced by an absolutely clear use of shape and colour, by a descriptive language that pauses on the detailed portrayal of the faces, fabrics and jewels. Maddalena’s pendant is particularly significant, formed by a gold, unicorn-shaped mount and three precious stones (ruby, emerald and sapphire), and by a pearl, an element that alludes to virginal purity and marital fidelity.
In Vasari’s period, the portraits were still in the family home in Corso Tintori, where they were seen by Raffaello Borghini (1584) and Giovanni Cinelli (1667). From this date, there is not much information about them. They most definitely remained with the Doni family if, in 1826, Leopold II Grand Duke of Tuscany was able to buy them from the heirs and add them to the collection of paintings he was creating in the Palatine Gallery in Palazzo Pitti. Since 5 June 2018, the Doni portraits have been displayed in the Uffizi Galleries alongside Michelangelo’s Tondo Doni, hung on new supports that allow the stories on their reverse sides to be admired.