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Modern History --- Brotherhoods --- Fencing --- World's Fair (1913: Gent) --- Horsemen and horsewomen in art --- Fools and jesters in art --- 1850-1900 --- 1900-1950
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Modern History --- World's Fair (1913: Gent) --- Brotherhoods --- Fencing --- Horsemen and horsewomen in art --- Fools and jesters in art --- 1850-1900 --- 1900-1950
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Brotherhoods --- Fencing --- World's Fair (1913: Gent) --- Horsemen and horsewomen in art --- Fools and jesters in art --- 1850-1900 --- 1900-1950
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Fools and jesters in art --- Fous et bouffons dans l'art --- Gekken en narren in de kunst --- Painting, French --- Peinture française --- Fouquet, Jean, --- Peinture française --- Francesca, Pierro della --- Painting [French ] --- 15th century
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In praise of folly: on the fool and the jester in Flemish art. According to medieval theologians, faith is a deadly serious business. Humour and virtue are irreconcilable, because laughter is uncontrollable and escapes the control of reason. A modest smile is permitted. But laughing loudly, grinning and grimacing: these are the playing field of the devil – just as pernicious as other uncontrollable urges, such as physical love or the addiction of the gambler. That is the domain of the peasant or fool. In the late Middle Ages, every right-thinking town-dweller knew the difference between the peasant and the fool. Peasants are innocently gullible, primitive, throwing themselves into feasting, gorging, drinking and sex. The peasant is the antithesis of the cultivated urbanite, who fastidiously controls his urges – and who therefore above all must not laugh too loudly. Only during Innocents Day parties or Shrove Tuesday celebrations is it permitted for urban partygoers to play the fool and to show their ‘underbelly’. In contrast to the peasant, the fool escapes the existing order. He holds up a mirror to the self-declared wise citizens, because ‘the fool reveals the truth through laughter’, even though it may be hidden between piss and shit, sex and snot. It is for precisely this reason that Erasmus, in his In Praise of Folly writes not as himself but through the persona of Folly, a broad back behind which the wise person can hide when he denounces social problems. Laughter thus alters the world. In this context, the fool and irony became important motifs in medieval art, especially in the Low Countries. This original art book is illustrated with dozens of top-quality works by Flemish masters from worldwide collections.
Folly in art --- Art, Flemish --- Art, Medieval --- Fools and jesters in art --- History --- Medieval art --- Flemish art --- Moyen Âge --- Folie --- Sociology of culture --- Iconography --- Painting --- Graphic arts --- humor --- genre pictures --- Vlaamse school --- genre, Nederlanden --- jesters --- folly --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Flanders
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Establishing the notion of reasonable foolishness and foolish reason as a generic principle of the old French farce, Boucquey's study examines the interdependencies among four key mimetic phenomena: the demented universe of the Feast of Fools festival, the genre of the farce, Bruegel's representation of the world, and the euphoric comedies of triumphant madness created by Moliere. This reinterpretation of French farce according to the principle of a topsy-turvy world reveals the link of madness that unites the four modes of production studied, from textual linearity, through representational s
French farces --- French drama (Comedy) --- Fools and jesters in literature. --- Fools and jesters in art. --- Art and literature. --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Aesthetics --- Literature --- History and criticism. --- Molière, --- Bruegel, Pieter, --- Brueghel, Pieter --- Breugel, Pieter --- Breughel, Pieter --- Bruegel, Pieter --- Bolugaier, --- Breĭgelʹ, Piter, --- Brʹogel, Piter, --- Broigel, Peṭer, --- Breughel de Oude, Pieter --- Bruegel, Pierre, --- Bruegel, --- Brueghel, Pieter, --- Bryūgeru, Pītā, --- Po-lu-kai-erh, --- ברויגל, פיטר --- Molière, J.-P. B. --- Molière --- Poquelin, Jean-Baptiste --- Criticism and interpretation. --- 75 BRUEGEL, PIETER --- 840 "16" MOLIERE, JEAN-BAPTISTE POQUELIN DIT --- 75 BRUEGEL, PIETER Schilderkunst--BRUEGEL, PIETER --- Schilderkunst--BRUEGEL, PIETER --- 840 "16" MOLIERE, JEAN-BAPTISTE POQUELIN DIT Franse literatuur--17e eeuw. Periode 1600-1699--MOLIERE, JEAN-BAPTISTE POQUELIN DIT --- Franse literatuur--17e eeuw. Periode 1600-1699--MOLIERE, JEAN-BAPTISTE POQUELIN DIT --- Bolugaier --- Breĭgelʹ, Piter --- Brʹogel, Piter --- Broigel, Peṭer --- Bruegel, Pierre --- Bryūgeru, Pītā --- Po-lu-kai-erh --- Drama --- Thematology --- French literature --- Bruegel, Pieter [Elder] --- History and criticism --- Criticism and interpretation --- Molière --- Molière, J.-B. P. --- Molière, J.-B. P. de --- Poquelin de Molière, Jean Baptiste, --- Molʹer, Zhan-Batist, --- Mo-li-ai, --- Moliai, --- Molyér, --- Molière, Jean Baptiste Poquelin, --- Moliere, I. B. P. de, --- Molʹer, Zh.-B. --- Molieros, --- Moliyer, --- Molʹer, --- Mollierŭ, --- Molyer, Zshan Poḳlen, --- Мольер, --- Moriēru, --- מאליער --- מולייר --- מולייר, ב׳אן בטיסט --- מולייר, פ. --- מולייר, --- מולירה --- موليير --- 莫里哀, --- モリエール, --- Critique et interprétation. --- Critique et interprétation. --- Moliere,
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