Painting for a Requiem (Registro nro. 121988)

Detalles MARC
000 -LEADER
fixed length control field 02137nab a2200181 c 4500
001 - CONTROL NUMBER
control field myd_85147
003 - CONTROL NUMBER IDENTIFIER
control field ES-MaCDM
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20240917124634.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 181003s2011 sp ||||fr 00| u|spa u
040 ## - CATALOGING SOURCE
Original cataloging agency ES-MaCDM
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Davison, Alan
9 (RLIN) 136700
245 0# - TITLE STATEMENT
Title Painting for a Requiem
Remainder of title Mihály Munkácsy's The last moments of Mozart (1885)
Statement of responsibility, etc DAVISON, Alan
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Date of publication, distribution, etc 2011:
Name of publisher, distributor, etc Oxford University Press,
Place of publication, distribution, etc London; Oxford
520 ## - SUMMARY, ETC.
Summary, etc RESUMEN: The Hungarian artist Mihály Munkácsy's oil painting The last moments of Mozart (1885) is just one of several "death-bed" visual reconstructions of the composer from the second half of the 19th and early 20th centuries. Mozart's early death, and its connection to the unfinished Requiem, fascinated Romantic writers, biographers, music historians and several painters as well. Within this theme in Mozart's posthumous reception, Munkácsy's painting is one of the most dramatic images of the composer, and it stands as a testament to deeply rooted beliefs regarding Mozart's genius and creative destiny. The last moments of Mozart is representative of the romantic "Dionysian" construction of Mozart that rose up against the prevailing classicizing or "Apollonian" vision of the composer. While Munkácsy's large-scale canvas belongs to the sub-genre of Mozart deathbed iconography, it steers well away from the usual sentimentalized visual accounts that show the composer in the grip of emotional despair. Instead, the artist shows Mozart in the throes of a deeply internalized creative vision, synthesizing his life and work-death and the Requiem-in a visual transfiguration that elevates Mozart's last moments to something beyond the earthly. The last moments of Mozart, and other similarly "kitsch" and neglected paintings of Mozart, may help us reflect upon the role of images in our own inherited conceptions of the composer. Palabras clave: Iconografía; Mozart, Wolfgang Amadeus (1756-1791);Misa de requiem; Munkácsy, Mihaly; Dionisos.Culto
773 0# - HOST ITEM ENTRY
Title Early Music
Host Biblionumber 72886
Record control number myd_16029
Relationship information Vol. 39, núm. 1,Feb. 2011, p. 79
903 ## - LOCAL DATA ELEMENT C, LDC (RLIN)
a 85147
b 85147
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type Artículos de revista

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