Encaustic painting is one of the worldrsquo;s most venerable art forms; having been practised consistently around the world since the ancient Egyptians first used it to decorate sarcophagi; and enjoying continuing popularity in the modern era with artists such as Paul Klee and Diego Rivera. In this new text; Jennifer Margell offers readers a comprehensive introduction to the medium; featuring instructive how-tos for encaustic art beginners; revealing interviews with some of the most celebrated practitioners of the medium; and a gallery featuring one of the largest published collections of encaustic art to date.
#1274761 in eBooks 2015-02-17 2015-02-17File Name: B00KFG18LE
Review
0 of 3 people found the following review helpful. Five StarsBy AnonAOK0 of 0 people found the following review helpful. Bach Christmas Oratorio: Major StudyBy William L. HoffmanMarcus Ratheyrsquo;s new study of Bachrsquo;s Christmas Oratorio: Music; Theology and Culture (Oxford University Press; 12016); is an exhaustive; source-based examination of what has emerged as a major masterpiece; shedding its earliest historical reception in the 19th century as a light; inconsequential work of self-plagiarism and idolatrous contrivance. The chapter titles hint at the breadth and depth of this odyssey: ldquo;Redefining Christmas;rdquo; ldquo;Layers of Time: The Theology of the Christmas Oratorio;rdquo; Bachrsquo;s Oratorio Concept;rdquo; ldquo;Planning the Oratorio;rdquo; and the six parts: Part 1; Nativity; ldquo;Dichotomiesrdquo;; Part 2; Annunciation to Shepherds; ldquo;Mundane and Celestial Harmoniesrdquo;; Part 3; Shepherdsrsquo; Adoration; ldquo;Inward Mobilityrdquo;; Circumcision Naming; ldquo;rsquo;Whatrsquo;s in a Namersquo;?rdquo;; Paar 5; Magi Journey; ldquo;Paths of Enlightenmentrdquo; (Part 5); and Part 6; Magi Adoration; ldquo;The Bridegroom and the Enemy.rdquo;Ratheyrsquo;s latest book follows on the heels of his Bachrsquo;s Major Vocal Works: Music; Drama; Liturgy (Yale University Press; 2016); with its Chapter 3; ldquo;From Love Song to Lullaby: The Christmas Oratorio; BWV 248.rdquo; His new monograph is an exemplar for an individual study of Bachrsquo;s major vocal works and hopefully will lead to other studies of the Passions; groups of cantatas for seasons and special uses; and the other oratorios; as well as the instrumental music (Peter Williams emphasizes the keyboard music in his new Bach: A Musical Biography (Cambridge University Press; 2016).The cultural and religious climate of Bachrsquo;s time and his oratorio are the basic subject of Ratheyrsquo;s study; examining various German sources; particularly before Bachrsquo;s time. Of central interest; and an extension of his previous book; is the theme of the heart; found in graphic and devotional literature; with an emphasis on love songs and duets. His theological studies focus on the unio mystica of the human heart in the ldquo;The Duty in liferdquo; concept of the meaning of the Christmas feast with its related ldquo;Doctrine of Faithrdquo; and ldquo;Consolation of Faithrdquo; as ldquo;Christ comes as a child to make mankind children of God;rdquo; relates Rathey (Ibid.: 9).Rathey also conducts a philological study of the textutal and musical influences found often in this extensive parody work. Musically; in ldquo;Redefining Christmas;rdquo; Rathey examines the traditions that were most directly influential on Bach (see above; ldquo;Leipzig Cantors Knuuml;pfer; Schellerdquo;). In the chapter; ldquo;Layers of Time: The Theology of the Christmas Oratorio;rdquo; examined is the ldquo;The Threefold Meaning of Christmas;rdquo; that is the three modes of Christrsquo;s coming; into the flesh; into our hearts; and at the final judgement. These are found in the prayer books and libretti of Bach contemporary poets (and pastors) Neumeister (see above; ldquo;Anonymous Christmas Cantata 142;rdquo; and Benjamin Schmolck (Stouml;lzelrsquo;s librettist; see above; ldquo;Stouml;lzel; Mid-1730s Musicrdquo;).The oratorio libretto; possibly by Picander; ldquo;has three gravitational centers: the historical event of the birth of Jesus; the existential meaning on this coming expressed in the image of Christrsquo;s indwelling in the believerrsquo;s heart; and the return of Christ at the end of Timerdquo; [the eschatology); says Rathey (Ibid.: 61). At the same time; in order to engage the congregation; Bach set plain chorales with elaborate instrumental support; a chorale chorus; and three dialogues with troped poetic materials as love duets; emphasizing Christmas hymns of Martin Luther; Johann Rist; and Paul Gerhardt; moving from traditional to pietist-flavored stanzas.In the chapter ldquo;Bachrsquo;s Oratorio Concept;rdquo; Rathey studies contemporary models and the influence of poetic Passion texts of Stouml;lzel (see above) and Johann Adolph Hasse at the Dresden court; both performed on Good Friday 1734. No examples of other composers so-called ldquo;Christmas Oratoriosrdquo; are cited; except for Carl Heinrich Graunrsquo;s poetic work with chorales (Ibid.: 80f); ldquo;Mache dich auf; werde Licht;rdquo; and no date but similar in structure and gallant style to his poetic Passion setting; ldquo;Der Tod Jesurdquo; (The Death of Jesus). Almost no information is found on the works of Johann Mattheson; ldquo;Die Heilsame Geburtrdquo; (1715) and ldquo;Das grouml;szlig;te Kindrdquo; (1720); Telemannrsquo;s ldquo;O Jesu parvule;rdquo; TVWV 1:797; and Georg Gebelrsquo;s ldquo;Jauchzet; ihr Himmel! Erfreue dich Erde!rdquo; of 1748. 8 These works are designed in cantata style while Bachrsquo;s contemporaries also composed numerous cantatas for Christmas Season services.--------------This discussion of Bachrsquo;s Christmas Oratorio will continue a year from now [December 2017] on the BCML during consideration of Bachrsquo;s Christological cycle; taking up the remainder of Rathey book; dealing with the chapters ldquo;Planning the Oratorio;rdquo; and the six chapters on each part; as well as the extensive dance element in the work; and other resources.
