#SaintJeromeinHisStudy

[biointernet]

Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel 10 things to know about Albrecht Dürer: Even as a 13-year-old, he was breaking new ground Dürer’s home city was one of the most important in Europe He is credited with bringing the Renaissance to Northern Europe He was a fine painter, and an even finer printmaker — perhaps the greatest there has ever been Between 1513 and 1514, he produced the three engravings known as his Master Prints He was the favourite artist of the Holy Roman Emperor His depiction of a rhinoceros is one of the most celebrated animals in art history He had one of the most famous signatures in art He was an author as well as an artist He was as feted in death as he was in life Details on Christies

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article

[biointernet]

Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel 10 things to know about Albrecht Dürer: Even as a 13-year-old, he was breaking new ground Dürer’s home city was one of the most important in Europe He is credited with bringing the Renaissance to Northern Europe He was a fine painter, and an even finer printmaker — perhaps the greatest there has ever been Between 1513 and 1514, he produced the three engravings known as his Master Prints He was the favourite artist of the Holy Roman Emperor His depiction of a rhinoceros is one of the most celebrated animals in art history He had one of the most famous signatures in art He was an author as well as an artist He was as feted in death as he was in life Details on Christies

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article

[biointernet]

Albrecht Dürer and Hourglass

“The treasure secretly gathered in your heart will become evident through your creative work.”  ― Albrecht Durer Geometry is the foundation of all painting.”  ― Albrecht Durer

Albrecht Dürer and Hourglass

Qualia and Time Sense Qualia is sensitive experience Qualia and Time Perception

Qualia

Qualia are the subjective or qualitative properties of experiences Qualia is qualities of awareness

Philosophy of perception

The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world.

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block https://www.myhourglasscollection.com/427-430-melencolia-i-by-albrecht-durer/ 1514 engraving by Albrecht Dürer The print’s central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane and a saw. https://www.myhourglasscollection.com/symbolism-of-melencolia-i-by-albrecht-durer/ More about Time Symbolism Sense data are the alleged mind-dependent objects that we are directly aware of in perception, and that have exactly the properties they appear to have. For instance, sense data theorists say that, upon viewing a tomato in normal conditions, one forms an image of the tomato in one’s mind. This image is red and round.

427-430 Melencolia I by Albrecht Dürer

See also:

Time symbolism, Time is…, The Full History of Time, Time in physics and time Science, Symbolism of Melencolia I by Albrecht Dürer, Time and Text, DADA Time, Text, Time, MHC, Extinction Rebellion – Time against Life, The End of Time, Hourglass and Death on St Thomas’ Church, Hourglass – symbol of Death, Death does not Exist, Hourglass and Skeleton, “Hourglass and Cards” Exhibition, Father and Mother of Time, Time Hub, Time Philosophy, Time synonyms, Qualia and Time Sense, Time perception and Sense of Time, The Hourglass of Emotions, Time Travel + Time Management = Time Travel Management, The Hourglass, Hourglass History, Hourglass symbolism, Hourglass Figure, Hourglass Tattoo, Symbols of Time, Beauty Bio-Net, Father Time Department, Father Time and Mother Nature, Lunar calendar and Moon’s phases, Time Management, Time Management tools MHC SM: MHC Flikr, MHC Pinterest, MHC Facebook, MHC Instagram, MHC YouTube, MHC Twitter 427 Melencolia I by Albrecht Dürer

Ritter, Tod und Teufel/Knight, Death and the Devil

Ritter, Tod und Teufel/Knight, Death and the Devil Knight, Death and the Devil (German: Ritter, Tod und Teufel) is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. An armoured knight, accompanied by his dog, rides through a narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armor, the horse which towers in size over the beasts, the oak leaves and the fortress on the mountaintop are symbolic of the resilience of faith, while the knight's plight may represent Christians' earthly journey towards the Kingdom of Heaven. The work was mentioned by Giorgio Vasari as one of "several sheets of such excellence that nothing finer can be achieved". It was widely copied and had a large influence on later German writers. Philosopher Friedrich Nietzsche referenced the work in his work on dramatic theory The Birth of Tragedy (1872) to exemplify pessimism, while it was later idealised in the 20th century by the Nazis as representing the racially pure Aryan, and was sometimes used in their propaganda imagery. More on Wiki

Ritter, Tod und Teufel

Der heilige Hieronymus im Gehäus/Saint Jerome in His Study

Dürer «Saint Jérôme dans sa cellule» (1514)

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation". Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. More on Wiki DÜRER Saint Jérôme dans sa cellule lion chien tête de mort crâne sablier manuscrit encrier lustre Albrecht Dürer and Hourglass See also:

Symbolism of Melencolia I by Albrecht Dürer

427-430 Melencolia I by Albrecht Dürer post stamps block Read the full article