By Laurie Schneider Adams
Munch’s The Scream. Van Gogh’s Starry evening. Rodin’s The philosopher. Monet’s Water Lilies. Constable’s landscapes. The nineteenth century gave us a wealth of creative riches so memorable of their genius that we will be able to photograph lots of them straight away. on the time, despite the fact that, their avant-garde nature used to be the reason for a lot controversy. Professor Laurie Schneider Adams vividly brings to existence the work, sculpture, images and structure, of the interval together with her infectious enthusiasm for paintings and distinctive explorations of person works. provided interesting biographical information and the correct social, political, and cultural context, the reader is left with a deep appreciation for the works and an realizing of the way progressive they have been on the time, in addition to the explanations for his or her enduring allure.
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Mersenne was friend and collaborator with some of the greatest minds and leading personalities of the first half of the seventeenth century—Galileo, Étienne Pascal (a mathematician and father of Blaise), the Epicurean philosopher Pierre Gassendi, the Sorbonne theologian (and, later, Jansenist leader) Antoine Arnauld, the English thinker Thomas Hobbes, and many others. In the 1630s and 1640s, Mersenne would function as a kind of midwife to Descartes’s philosophical thought and helped usher 22 Chapter 2 some of his writings into print.
They served not only local manufacturers, but also foreign firms. Bolts of linen—woven by the thousands of textile workers employed in Haarlem or on looms in London or Scotland and carried by boat across the English Channel— were first soaked in lye and then bathed for days in buttermilk supplied by surrounding dairies. They were then laid out in long stretches on the grasslands beyond the city’s moat to dry and whiten in the sun from the late spring through the early fall. The level and open landscape around Haarlem that was so conducive to bleaching linen also afforded a clear view of the city at great distances.
The level and open landscape around Haarlem that was so conducive to bleaching linen also afforded a clear view of the city at great distances. The spires and rooftops seemed to rise right from the horizon and were easily seen by approaching travelers from far away. Towering over Haarlem and dominating its skyline was the massive Church of St. Bavo. This gothic structure, whose earliest parts were built in the tenth century, was named after Bavo of Ghent (Saint Baaf), who was also the patron saint of Haarlem.