48 Sentences With "veristic" | Random Sentence Generator

Sylvestre's painting is not meant to be veristic, showing as it does naked Visigoths scaling a togate Roman imperial statue.

"Amazing Grace" is a sweatily veristic immersion in the recording of Aretha Franklin's 1972 gospel album — with choir, in front of amazed, raucous audiences in an intimate Los Angeles church.

"Amazing Grace" is a sweatily veristic immersion in the two-evening recording of Aretha Franklin's 1972 gospel album — with choir, in front of an amazed, raucous audience in an intimate Los Angeles church.

These images deftly wove their way through Doris Ziegler's veristic self-portraits of women at work in a factory in socialist GDR, to carry me to the simultaneously ephemeral yet materially explosive fabric works of Adriena Šimotová of the Czech Republic.

Veristic portraits of the late Republic hold a special fascination for classical art historians. Romans had inherited the use of sculpted marble heads from the Greeks but they did not inherit the veristic style from them. To scholars verism is uniquely Roman. Scholars have put forth multiple theories as to what or who were the precursors to Republican portraiture.

As stated in the section above, verism first appeared during the Late Republic. The subjects of veristic portraiture were almost exclusively men, and these men were usually of advanced age, for generally it was elders who held power in the Republic. However, women are also seen in veristic portraiture, though to a lesser extent, and they too were almost always depicted as elderly. A key example of this is a marble head found at Palombara, Spain.

For most of the composers associated with verismo, traditionally veristic subjects accounted for only some of their operas. For instance, Mascagni wrote a pastoral comedy (L'amico Fritz), a symbolist work set in Japan (Iris), and a couple of medieval romances (Isabeau and Parisina). These works are far from typical verismo subject matter, yet they are written in the same general musical style as his more quintessential veristic subjects. In addition, there is disagreement among musicologists as to which operas are verismo operas, and which are not.

Pages: 264. (A notable example: Shostakovich's veristic opera Lady Macbeth of the Mtsensk District was denounced in Pravda newspaper as "formalism" and soon removed from theatres for years). The musical patriarchs of the era were Prokofiev, Shostakovich, Aram Khachaturian and Alexander Alexandrov.

Martin Honert, Photo, 1993, epoxy, wood, and paint, 31 x 29 x 48 inches, Museum fur Moderne Kunst, Frankfurt am Main. Martin Honert (born 1953) is a German artist based in Düsseldorf. He is known for making veristic sculptures of memories or images related to his childhood.

Age during the Late Republic was very highly valued and was synonymous with power, since one of the only ways to hold power in Roman society was to be part of the Senate. Yet to be in the Senate, a Roman patrician had to be at least forty-two years of age, which in ancient times was considered a mature stage of life.Greek, Foreigners, And Roman Republic Portraits, Cambridge Journals: The Journal of Roman Studies, 1981General de Tivoli, pseudo-athlete with veristic head, ca. 90-70 BC, TivoliIt is debated among scholars and art historians whether these veristic portraits were truly blunt records of actual features or exaggerated features designed to make a statement about a person's personality.

Yet what is important to note is that there is not one single accepted theory of the origin of verism. The question of veristic style remains to this day essentially open and unresolved. Each theory, while plausible in its own way, will require further research and adequate consideration among scholars.

Veristic style was likely developed as a reference to the images associated with Roman funerary rituals. From Polybios's writings on funerary rituals we know that wax masks were created from the faces of the deceased in order to create an exact replica of their likeness that would be worn by someone of similar stature during the funerary ritual.Polybius, Histories, 6.53. c. 150 BCE.

Scholars believe that Vespasian used the shift from the Classical style to that of veristic portraiture to send a visual propagandistic message distinguishing him from the previous emperor. Vespasian's portraits showed him as an older, serious, and unpretentious man who was in every respect the anti- Nero: a career military officer concerned not for his own pleasure but for the welfare of the Roman people, the security of the Empire, and the solvency of the treasury. Like the Romans from the Late Republic, Vespasian used veristic busts to underscore traditional values as a way to indicate to the Roman people a connection to the Republic. With this reminder of the Late Republic, many Roman citizens were likely put at ease, knowing Vespasian was truly not like the previous emperor Nero, who represented everything the Republic abhorred.

The precise details create a strong effect of verisimilitude; the designer presents the images as objective historical truth. The emperor Trajan is depicted realistically in the Veristic style, making 59 appearances as the central hero among his troops. The portrayal of the Roman army as relatively gentle may have been designed to support Trajan's image as a man of "justice, clemency, moderation, and restraint".

Gramophone, November 1992. Accessed 13 April 2011. However, although there are parallels with the Janáček of Jenůfa or Káťa Kabanová, there is also a “high- Romantic, rhapsodic” use of the orchestra. Instrumental characterization of the cast is also used: Juha with brass and low woodwind, while Shemeikka’s sound world is bright and at times veristic; Marja is often accompanied by solo violin or flute.

Pages: 264. (A notable example: Shostakovich's veristic opera Lady Macbeth of the Mtsensk District was denounced in Pravda newspaper as "formalism" and soon removed from theatres for years). The music patriarchs of the era were Prokofiev, Shostakovich and Aram Khachaturian. With time, a wave of younger Soviet composers, such as Georgy Sviridov, Alfred Schnittke, and Sofia Gubaidulina took the forefront due to the rigorous Soviet education system.

A History of Roman Art, Enhanced Edition, Wadsworth CENGAGE Learning, Boston, 2010 It is widely held in academia that in the ancient world physiognomy revealed the character of a person; thus, the personality characteristics seen in veristic busts could be taken to express certain virtues very much admired during the Republic. However,scholars can never know for certain the accuracy of portrait renditions made long before their own era.

Roman leaders favored the sense of civic duty and military ability over beauty in their portraiture. Veristic portraits, including arguably ugly features, was a way of showing confidence and of placing a value on strength and leadership above superficial beauty. This type of portraiture sought to show what mattered to the Romans; powerful character valued above appearances. Similarly to Greek rulers, Roman leaders borrowed recognizable features from the appearances of their predecessors.

The Origin of Verism in Roman Portraits. The Journal of Roman Studies, 45, 39–46. The veristic features of the pseudo-athlete's head are juxtaposed with the figure's body, which is depicted in the guise of an athletic youth from Classical Greece. The pseudo- athlete's body is typically depicted in heroic-nudity with highly smooth muscular forms and are often shown in an active stance or standing in an S-shaped curved known as contrapposto.

Hélène is the first opera that Saint-Saëns composed for the opera house in Monte Carlo, which was led by enterprising director Raoul Gunsbourg at that time. At its premiere, the opera was presented in conjunction with Jules Massenet's veristic La Navarraise. The role of Hélène was sung by acclaimed soprano Nellie Melba, who had commissioned Saint-Saëns to write the opera specifically for her. The reviews of the premiere performance, though not stellar, were generally positive.

Veristic portrait bust of an old man, head covered (capite velato), either a priest or paterfamilias (marble, mid-1st century BC) The origin of the realism of Roman portraits may be, according to some scholars, because they evolved from wax death masks. These death masks were taken from bodies and kept in a home altar. Besides wax, masks were made from bronze, marble and terracotta. The molds for the masks were made directly from the deceased, giving historians an accurate representation of typically Roman features.

Friedrich Gauermann, Lithograph by Josef Kriehuber Friedrich Gauermann (10 September 1807, – 7 July 1862) was an Austrian painter. The son of the landscape painter Jacob Gauermann (1773–1843), he was born at Miesenbach near Gutenstein in Lower Austria. He was an early representative of the Veristic style devoted to nature in all its diversity. It was the intention of his father that Gauermann should devote himself to agriculture, but the example of an elder brother, who, however, died early, fostered his inclination towards art.

Etruscan Cinerary Urn, c. 150-100 BCScholars believe the ancient Italic peoples had an inclination to veristic representation leading to influence on later Roman art.Richter, The Origin of Verism in Roman Portraits, p. 39. From a central Italian provenance in ancient times tribes from this area used Terracotta and Bronze to make a somewhat realistic portrayal of the human head. Yet the ‘Italic’ heads, as they are called, are not seriously considered to be a favorable or strong theory held among scholars as being forerunners to the Republican portraits.

Scholars consider the ancient Roman custom of making wax portraits, known as funerary or Death mask, of their ancestors as a convincing source for the veristic style. H. Drerup, a man of academia, argues that death masks molded straight from the face were early in use at Rome and exerted a ‘direct influence’ on Republican portraits. Yet research has cast doubt on this theory. None of the funerary masks date before the 1st century AD. Evidence suggests the ancestral funerary masks merely kept pace with contemporary portraits in the round.

Scholars debate whether Egyptian influence started Roman verism. A group of portraits in hard Egyptian stone from the Roman Ptolemaic Kingdom show a harsh realism that is similarly seen in Republican portraits. Scholars believe the Egyptian portraits began to be made before the Republican portraits and strongly influenced the Romans into establishing the veristic style when Egyptian priests and cults came into contact with Italy and Greece. Although this theory like the others has merit, lack of concrete dating of this certain Egyptian style makes scholars doubt the creditability.

This was commonly practised to suggest their likeness to them in character and their legitimacy to rule; in short, these fictitious additions were meant to persuade their subjects that they would be as great and powerful a leader as the previous ruler had been. This period marked a sharp departure from the veristic depictions of Republican Rome, which was reflected visually through stylistic contrasts. Though this shift may at first seem like a regression, it marked the development of a style where symbolism trumped realism and idealism alike.

Verism first appeared as the artistic preference of the Roman people during the late Roman Republic (147–30 BC) and was often used for Republican portraits or for the head of “pseudo-athlete” sculptures. Verism, often described as "warts and all," shows the imperfections of the subject, such as warts, wrinkles, and furrows. It should be clearly noted that the term veristic in no way implies that these portraits are more "real." Rather, they too can be highly exaggerated or idealised, but within a different visual idiom, one which favours wrinkles, furrows, and signs of age as indicators of gravity and authority.

Carved between 40 BC and 30 BC, during the decade of the civil war that followed Julius Caesar's assassination, the woman's face shows her advanced age. The artist carved the woman with sunken cheeks and pouches under her eyes to illustrate her age, much like male veristic portraiture of the time. Verism, while the height of fashion during the Late Republican era, quickly fell into obscurity when Augustus and the rest of the Julio-Claudian dynasty (44 BC-68 AD) came to power. During this imperial reign, Greek Classical sculpture that featured "eternal youth" was favored over verism.

9-10 The display of ancestral images in aristocratic houses of the Republic and the public funerals are described by Pliny, Natural History 35, 4-11.Winkes, Rolf: Imago Clipeata, Studien zu einer römischen Bildnisform, Bonn 1969. Winkes, Rolf: Pliny's chapter on Roman funeral customs (American Journal of Archaeology 83, 1979, 481-484) Since references to "images" often fail to distinguish between commemorative portrait busts, extant examples of which are abundant, or funeral masks made of more perishable materials, none can be identified with certainty as having survived. The veristic tradition of funerary likenesses, however, contributed to the development of realistic Roman portraiture.

Traditional north coast Peruvian ceramic art uses a limited palette, relying primarily on red and white; fineline painting, fully modeled clay, veristic figures, and stirrup spouts. Moche ceramics created between 150–800 CE epitomize this style. Moche pots have been found not just at major north coast archaeological sites, such as Huaca de la luna, Huaca del sol, and Sipan, but also at small villages and unrecorded burial sites as well. Huaca del Sol (Temple of the Sun), Mochica cultural capital, south of the modern city of Trujillo At least 500 Moche ceramics have sexual themes.

Megapolis, Greece. These public funerals intended to honor the virtuous character of the deceased, emphasizing prized Roman values such as stern moral seriousness (gravitas), firmness and strictness of judgement (severitas), and determination and self-possession (constantia). It is likely that in order to associate themselves with their honorable ancestors, living patrons began to reference the style of these funerary masks in their own portraiture. The veristic style of Late Republican Rome came in contact with the idealized style of Classical Greece largely on the Island of Delos, where Greek artists and Roman patrons lived in close proximity.

Greek artists notoriously portrayed foreigners in an unfavorable light as a result of Greek attitudes of superiority. For the Romans the Greeks found them not only to be foreigners, yet to be increasingly pompous and unlikeable oppressors. Greek artists were little concerned to put the sitter's case favorably and portrayed Romans with an unsympathetic likeness. As a result, the Greek artist would maintain the Hellenistic ‘pathos formula’ – turn of the head and neck, eyes looking upward – but the Greek sculptor, rather than adapt the Roman's features to a Hellenistic ruler ideal, had concentrated on bringing out an air of caricature to the face leading to what scholars call veristic portraiture.

Another theory presented to scholars in classical academia suggests that verism came about from Greek reactions to the conquering Romans. The theory goes that Romans in the Republic privately cherished the Hellenistic culture yet still held onto Republic values. This interest leaked similar portrayals seen in the more realistic Hellenistic royal portraits of the Pontic and Bactrian kings of the first half of the 2nd century BC, such as the slight turn of their heads and upward glance of the eyes, into Roman veristic busts. As Rome conquered Greece the empire saw an influx of talented Greek artists who were commissioned by the Romans to create their portraits that portrayed both the Hellenistic look and Republic values.

1480 - Archaeological Museum, Athens - Pseudo-Athlete of Delos - Photo by Giovanni Dall'Orto, Nov 13 200 The term Pseudo-athlete is used to describe works of art from the Late Republican period in Rome that combine a veristic head with an idealized body that references Classical Greek sculpture. Verism is a style of Roman portraiture that portrays an individual with aging facial features, most notably sagging skin around the mouth and eyes, short-cropped or balding hair, and deep wrinkles on the forehead and around the eyes and mouth. These features were emphasized under the tradition of verism in order to stress an advanced moral and psychological consciousness that comes along with advanced age.Gisela M. A. Richter. (1955).

O'Donoghue/Ross has explored nearly every medium of visual expression. He has also experimented in various styles, from veristic (his St Brendan sculpture) to abstract (his Cathedral windows) though he has always returned to his own brand of neo- surrealism. As explained in a lengthy full-page set of articles about his "Mists of Time" exhibition that traveled the country under the auspices of the Siamsa Tíre Theatre and Arts Centre in County Kerry in 1995, he "pursues his own vision, on his own terms, moving from painting to sculpting to printmaking, from realistic to abstract to allegory, working in whatever style fulfilled his need to express the idea or emotion he wished to portray"."In the News in Wexford", The Echo (pg 10), May 11, 1995.

He aimed to create a Spanish opera, which would form a basis for a national music. He not only expressed these ideas in his many writings, but also through a series of works he composed throughout his career, from Guzmán el bueno (1876) to Tabaré (1913). His series of nine operas, two of them in only one act, are an ambitious body of work for Spanish composers of his time. After a long polemic which delayed its première, Los amantes de Teruel (1889) amounted to its definitive consolidation, and was followed by proposals along very different lines, such as the Wagnerian in Garín (1892) for the Barcelona Liceo and the veristic in La Dolores (1894) for the Madrilenian Teatro de la Zarzuela.

Both the first, a mature work with a strong couleur locale and sensuality, and the second, an opera with a marked national stamp, dense in traditional melodic patterns, are imprinted on compact disc and are accessible to the public. Along with his national melodramas, Carrer continued to compose Italian-style operas, such as Fior di Maria (libretto by Giovanni Caccialupi, staged at the San Giacomo of Corfu, in January 1868), in which realistic and pre-veristic elements are detected. Decisive steps towards dramatic and musical realism were made with his historic opera Maria Antonietta (libretto by Giorgio Roma, opened at the Foskolos theatre of Zante, January 1884). A special place in his operatic creation is held by Marathōn-Salamis, an ambitious opera in four parts (composed c.

However, she also distinguished herself as a Verdi singer - 18 times Gilda, 16 times Oscar - and in the late romantic- veristic subject - 17 times Lucieta in Ermanno Wolf-Ferrari's I quatro rusteghi and 19 times Nuri in d'Albert's Tiefland. She could also be seen and heard in the State Opera in operettas by Heuberger, Lehár and Millöcker. Kern sang in Vienna in three premieres: 1930 in Das Veilchen von Montmartre by Emmerich Kálmán at the in 1930 in Endlich allein by Franz Lehár at the Theater an der Wien and 1934 in Fanny in Bittner's Das Veilchen at the Vienna State Opera. This performance was conducted by Clemens Krauss, who had taken over the direction of the Staatsoper in 1929, and staged by Lothar Wallerstein, who had accompanied Krauss from Frankfurt to Vienna.

The written use of Insubric resumes in Milan under the House of Visconti, such as in the case of Lancino Curti and Andrea Marone. The written testimoniances of Quattrocento (15th century) are still indecisive in orthography; Dei, in this century, composes the first Milanese glossary. In the 16th century, Gian Paolo Lomazzo founds the Academy of Val di Blenio, which furnishes information also about other dialects of the period. In 1606 G.A. Biffi with his Prissian de Milan de la parnonzia milanesa tried a first codification of orthography, regarding vowel length and sound /ö/ for which he found the solution ou; Giovanni Capis elaborates the first embryo of dictionary, the Varon Milanese; Fabio Varese, anticlassicist poet, realizes some thirty of humouristic-veristic sonnets in Milanese (with an answer for every sonnet in which he blames himself).

During the late republic, many Roman traders and merchants came to Delos to take advantage of its central location for sea trade, bringing their own artistic style along with them. These merchants had enough disposable wealth to afford portrait commissions from the local Greek artists that were familiar with sculpting in the idealized style of Classical Greece, thus causing the two drastically different styles to merge in a way that may appear semi-awkward to the modern eye. Scholars like Tom Stevenson have also credited the origins of the pseudo- athlete to the desire of Roman patrons on the island of Delos to be depicted with both the energy and passion of youth that is valued by Greeks along with wisdom of age that Romans value. This led to the creation of portrait sculptures that combine a veristic head and youthful body.

Some have explicitly condemned his efforts to please his audience, such as this contemporary Italian critic: > He willingly stops himself at minor genius, stroking the taste of the public > ... obstinately shunning too-daring innovation ... A little heroism, but not > taken to great heights; a little bit of veristic comedy, but brief; a lot of > sentiment and romantic idyll: this is the recipe in which he finds > happiness. () Budden attempted to explain the paradox of Puccini's immense popular success and technical mastery on the one hand, and the relative disregard in which his work has been held by academics: > No composer communicates more directly with an audience than Puccini. > Indeed, for many years he has remained a victim of his own popularity; hence > the resistance to his music in academic circles. Be it remembered, however, > that Verdi's melodies were once dismissed as barrel-organ fodder.

Marie Victoire (1912–1914, première 2004) is a French-language opera in four acts by the composer Ottorino Respighi to a libretto by Edmond Guiraud (1879–1961) based on his French-language play of the same name, set in the French Revolution. This opera was composed between 1912 and 1914 but, in spite of various plans, was not performed during the life of Respighi, due to the outbreak of World War I but also to the hostility towards the work of the wife of the composer, Elsa. It was premiered on 27 January 2004 at the Teatro dell'Opera in Rome.Musicwebinternational review Marie Victoire is an opera with a large number of characters, distinguished for the «frequent recourse to direct citations of revolutionary songs and court dances» and for a «vocal style that associates to the classical lyric singing the declamation and the arioso without veristic excesses».

331x331px The Pseudo-athlete of Delos is a larger than life-size nude male portrait measuring 7 feet and 5 inches tall (about 2.26 meters) that is dated to around 100 BCE. It was found in a house on the Greek island of Delos that the French excavators who discovered the sculpture have dubbed the House of the Diadoumenos, since a copy of Polykleitos's sculpture of an athlete binding his hair (The Diadoumenos) was discovered at the same site. The sculpture depicts the Roman businessman or potential slave trader that owned the house and had enough disposable wealth to commission a portrait of himself. The bust of the sculpture follows the tradition of Roman veristic portraiture, most notably in the figure's balding head, large ears, the subtle wrinkles on his forehead and at the corners of his mouth, as well the sagging skin around his neck and chin.

Scholars of Roman art like Fred Kleiner note that the stance of the Pseudo-athlete is drawn directly from the stance of the Diadoumenos, since the figure's weight is distributed in a similar manner. The weight of the marble of the Pseudo-Athlete is even supported by a tree-trunk shaped strut located next to the figure's right leg that mimics the one seen on Polykleitos's Diadoumenos. Other scholars like J. J. Politt have interpreted the body of the figure as a reference to the muscular torso of Hermes, the Italian counterpart to the Roman god Mercury who was the patron God of businessmen and is often associated directly with the traders on the island of Delos, like the patron of this sculpture.418x418pxOther than its veristic head, the Pseudo-athlete of Delos references the tradition of Roman portraiture because of its inclusion of the draped fabric.

However such "realism" is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. Equally, 19th-century Realism art movement painters such as Gustave Courbet are by no means especially noted for precise and careful depiction of visual appearances; in Courbet's time that was more often a characteristic of academic painting, which very often depicted with great skill and care scenes that were contrived and artificial, or imagined historical scenes. It is the choice and treatment of subject matter that defines Realism as a movement in painting, rather than the careful attention to visual appearances. Other terms such as naturalism, naturalistic and "veristic" do not escape the same ambiguity, though the distinction between "realistic" (usually related to visual appearance) and "realist" is often useful, as is the term "illusionistic" for the accurate rendering of visual appearances.

Recent scholarship has noted that, although surviving early examples are now uncommon, generally human figurative art was a continuous tradition in Islamic lands (such as in literature, science, and history); as early as the 8th century, such art flourished during the Abbasid Caliphate (c. 749 - 1258, across Spain, North Africa, Egypt, Syria, Turkey, Mesopotamia, and Persia). Christiane Gruber traces a development from "veristic" images showing the whole body and face, in the 13th to 15th centuries, to more "abstract" representations in the 16th to 19th centuries, the latter including the representation of Muhammad by a special type of calligraphic representation, with the older types also remaining in use.Gruber (2005), 229, and throughout An intermediate type, first found from about 1400, is the "inscribed portrait" where the face of Muhammad is blank, with "Ya Muhammad" ("O Muhammad") or a similar phrase written in the space instead; these may be related to Sufi thought.

In some cases the inscription appears to have been an underpainting that would later be covered by a face or veil, so a pious act by the painter, for his eyes alone, but in others it was intended to be seen. According to Gruber, a good number of these paintings later underwent iconoclastic mutilations, in which the facial features of Muhammad were scratched or smeared, as Muslim views on the acceptability of veristic images changed.Gruber (2005), 229 A number of extant Persian manuscripts representing Muhammad date from the Ilkhanid period under the new Mongol rulers, including a Marzubannama dating to 1299. The Ilkhanid MS Arab 161 of 1307/8 contains 25 illustrations found in an illustrated version of Al-Biruni's The Remaining Signs of Past Centuries, of which five include depictions Muhammad, including the two concluding images, the largest and most accomplished in the manuscript, which emphasize the relation of Muhammad and `Ali according to Shi`ite doctrine.Gruber (2010), pp.

Bullón de Mendoza 2004, p. 127 Matilde o el Angel de Valde Real by Faustina Sáez de Melgar (1863), a historical novel partially set during the war and issued almost simultaneously as Escosura's work was far less popular amongst the public because of the sex of its author rather than because of its literary quality.Bullón de Mendoza 2004, p. 128 Ellos y nosotros by Sabino de Goicoechea (1867) is the work based on extensive factual research and appearing to be of historiographic value; e.g. the discourse to what extent "fueros" formed part of the Carlist ideario of the 1830s is partially based on this very work, considered veristic in its literary style.Bullón de Mendoza 2004, p. 129 Among the authors in transition between Romanticism and Realism Antonio Truebaby some Trueba is counted among authors of “Segundo Romanticismo español”, Begoña Regueiro Salgado, Las guerras carlistas en la obra de Antonio Trueba y en la tercera serie de los Episodios nacionales de Benito Pérez Galdos, [in:] José Manuel González Herrán et. al.