pietà

The curator of this show has not only stuck Guston in the ancient sinking city inside a Roman Catholic museum abuzz with pietas, crucifixions, and other episodes from Season 2 of the Christian Bible, aka The New Testament, but he's also cramped Guston's stylehis uniquely autonomous place in the narrative of post-1950s American paintingby placing him in a "crowded room" with five heavyweight and in some cases heavily anti-Semitic poets of the modern literary canona motley crew of literary gods with initials like T.S., D.H.

American pietas; visions of race, death, and the maternal.

Sometimes these works were called the descent from the cross, or--to capture their mournful sentiment--lamentations or pietas; and in time the scene became the 13th Station of the Cross.

This play is especially important because it demonstrates the presence of female agency and opposition in a father-daughter relationship, and thus provides a new understanding of daughterly pietas. (8)

Not surprisingly, Grotius, the Remonstrant, opposed the political interference of the Reformed church, and his De imperio, like its predecessors Ordinum pietas (published in 1613) and Tractatus de iure magistratuum circa ecclesiastica (completed in 1614 but never published), argued that the summa potestas, the supreme power or civil state, enjoyed ultimate authority in religious matters.

Pietas Investments Limited has announced that, on 31 st May, it completed the acquisition of the business of Morgan Newmark.

But Edmondson's work belongs as much to the history, of spiritually inspired art - from early Christian sarcophagi and Romanesque tympana, to the late unfinished pietas of Michelangelo - as it does to Modern art.

The second part places Michelangelo's presentation drawing of the Pieta for Vittoria Colonna into the intellectual and theological views of the circle that surrounded her, and ends by considering briefly the artist's Florence and Rondanini Pietas as further instances of his continuing interest in the reform of religious art.

He was fashioning an ideal Erasmian humanist, a pious, lay intellectual who rejected monastic contemplation (monachatus non est pietas) and chose the active life.

Watkins reads Virgil's imitation and recasting of Homer as a correction of decadent Greek models in favor of Roman pietas and imperium; feminine allure "becomes the dominant metaphor for Homeric romance conceived as an attractive but ultimately misleading influence" (12).