DOCSLIB.ORG

Art in the Modern World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Art in the Modern World LECTURE 8 | Rococo to Neoclassicism (18th C) A U G U S T I N E C O L L E G E The Rococo French Comedy Antoine-Jean WATTEAU 1714 Mezzetin Antoine-Jean WATTEAU 1718-20 The Declaration of Love 1724 Jean-François de TROY A Lady in a Garden Taking Coffee with Some Children 1742 Nicolas LANCRET The Birth of Venus 1740 François BOUCHER Fastening the Skate 1777 Nicolas LANCRET Is He Thinking about Grapes? 1747 François BOUCHER The Pursuit 1771-73 Jean-Honoré FRAGONARD The Stolen Kiss 1787 Jean-Honoré FRAGONARD The Music Party 1774 Louis-Roland TRINQUESSE The Toilet of Venus (i.e., Venus Dressing) 1751 | François BOUCHER Mme Bergeret François BOUCHER Denis DIDEROT Encyclopedia Encyclopaedia, or Classified Dictionary of Sciences, Arts, and Trades 1777 Encyclopaedia, or Classified Dictionary of Sciences, Arts, and Trades 1777 ‘history painting’ biblical subjects mythological subjects events from human history (classical & modern) portraits genre subjects scenes of domestic life nature landscapes still-lifes Mucius Scaevola Confronting King Porsenna 1643 | Charles LE BRUN Woman Cleaning Turnips 1738 Jean-Baptiste-Siméon CHARDIN Swan Attacked by a Dog 1745 | Jean-Baptiste OUDRY The Academy of the artist Piazzetta | 18th C Exhibition of the Royal Academy, London 1787 Coresus Sacrificing Himself to Save Callirhoe 1765 | Jean-Honoré FRAGONARD The Pursuit 1771-73 Jean-Honoré FRAGONARD Louis XIV 1665 | BERNINI Charles X Distributing Awards to Artists Exhibiting at the Salon of 1824 at the Louvre 1824 | François-Joseph HEIM The Salon of 1785 at the Louvre Catalogue of the exhibition of the Royal Academy 1761 Self-portrait Jean-Baptiste GREUZE circa 1770 Benjamin Franklin 1777 Jean-Baptiste GREUZE The Head of the Family Reading the Bible to His Children 1755 | Jean-Baptiste GREUZE The Broken Eggs 1756 | Jean-Baptiste GREUZE The Broken Eggs detail 1756 Jean-Baptiste GREUZE The Broken Eggs detail 1756 Jean-Baptiste GREUZE Neoclassicism Self-portrait Jacques-Louis DAVID 1794 Grooming of a Young Bride in Classical Dress 1777 | Joseph-Marie VIEN GRAND PRIX DE ROME The Combat of Mars and Minerva 1771 | Jacques-Louis DAVID Belisarius Receiving Alms 1781 Jacques-Louis DAVID PIERRE CORNEILLE 1606-1684 The Death of Camilla preparatory sketch | 1781 | Jacques-Louis DAVID The Oath of the Horatii 1784 | Jacques-Louis DAVID The Oath of the Horatii detail The Salon of 1785 at the Louvre The Oath of the Horatii detail The Tennis-Court Oath 1791 | Jacques-Louis DAVID The Death of Socrates 1787 | Jacques-Louis DAVID The Death of Socrates | detail Jean-Paul Marat Jean-François GARNERAY before 1793 The Death of Marat Jacques-Louis DAVID 1793 The Death of Marat | detail The Death of Marat | detail The Death of Marat detail citing: Louis Groarke, “The Deceitful Artwork: Beautiful Falsehood or False Beauty?” Humanitas (September 1999) Christ and the Woman Taken in Adultery 1784 | Jean-Germain DROUAIS Young Woman Drawing 1801 Marie-Denise VILLERS La Marseillaise 1833-36 Jean-Francois RUDE George Washington Antonio CANOVA plaster modello for a marble statue later destroyed 1820 The Death of Wolfe Benjamin WEST | 1770 Medusa Medallion | 1770-80 Josiah WEDGWOOD Apotheosis of Homer | 1786 Teapot | Josiah WEDGWOOD Plaster cast in a blue niche Odysseus Slaying the Suitors | GREEK | 450 BC Odysseus Slaying the Suitors The Odyssey John FLAXMAN 1793/1805 Athena in the Form of Penelope’s Sister Tells the Queen of the Return of Telemachus The Odyssey | John FLAXMAN | 1805 Zeus and Hebe The Iliad | John FLAXMAN | 1793 The Choice of Hercules Joseph ADDISON, John FLAXMAN “The Choice of Hercules,” 1709 vase made by Josiah WEDGWOOD The Choice of Hercules Paolo MATTEIS | 18th C The Choice of Hercules Paolo MATTEIS | 18th C detail of ‘Happiness’ Self-Portrait at the Age of Twenty-Four Jean-Auguste-Dominique INGRES 1804 The Envoys of Agamemnon Jean-Auguste-Dominique INGRES | 1801 Virgil Reading the Aeneid to Augustus, Octavia, and Livia Jean-Auguste-Dominique INGRES | 1812-19 Napoleon on His Imperial Throne Jean-Auguste-Dominique INGRES 1804 Oedipus and the Sphinx Jean-Auguste-Dominique INGRES 1808 La grande Odalisque Jean-Auguste-Dominique INGRES | 1814 Bather Jean-Auguste-Dominique INGRES 1808 Daedalus and Icarus Antonio CANOVA 1779 Daedalus and Icarus Antonio CANOVA 1779 Funerary Monument to Maria-Christina Antonio CANOVA 1798-1805 The Great Seal Napoleon Antonio CANOVA 1802 Leonidas at Thermopylae 1814 | Jacques-Louis DAVID Princess Borghese as Venus Victrix Antonio CANOVA | 1807 Princess Borghese as Venus Victrix Antonio CANOVA | 1807 Cupid and Psyche Antonio CANOVA 1798-1805 Cupid and Psyche detail Antonio CANOVA | 1798-1805 The Seven Works of Mercy 1607 CARAVAGGIO Feed the Hungry 1795 | Antonio CANOVA Teach the Ignorant 1795 | Antonio CANOVA.
Recommended publications
  • WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin

    WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin

    WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank.
  • 9799 SM2 V2.Indd

    9799 SM2 V2.Indd

    Cambridge International Examinations Cambridge Pre-U Certifi cate ART HISTORY (PRINCIPAL) 9799/02 Paper 2 Historical Topics For Examination from 2016 SPECIMEN MARK SCHEME 2 hours 15 minutes MAXIMUM MARK: 60 The syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 3 Pre-U Certifi cate. This document consists of 28 printed pages. © UCLES 2013 [Turn over 2 Relative weightings of the assessment objectives: Individual questions Total for Paper 2 Paper 2 mark % mark % AO1 315915 AO2 7352135 AO3 5251525 AO4 5251525 Total 20 100 60 100 Candidates are to answer three questions in total from at least two different topics. All questions carry 20 marks each. Marking should be done holistically, taking into consideration the weighting of marks for each assessment objective as they are refl ected in the descriptor. The question-specifi c notes describe the area covered by the question and defi ne its key elements. Candidates may answer the question from a wide variety of different angles using different emphases, and arguing different points of view. There is no one required answer and the notes are not exhaustive. However candidates must answer the question set and not their own question; the question-specifi c notes provide the parameters within which markers may expect the discussion to dwell. Use the generic marking scheme levels to fi nd the mark. First fi nd the level which best describes the qualities of the essay, then allocate a point within the level to establish a mark out of 20. Add the 3 marks out of 20 together to give a total mark out of 60 for the script as a whole.
  • MF-Romanticism .Pdf

    MF-Romanticism .Pdf

    Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804.
  • Art List by Year

    Art List by Year

    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
  • Jacques-Louis David

    Jacques-Louis David

    Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title.
  • Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2

    Images Re-Vues, 13 | 2016 the Deceptive Surface: Perception and Sculpture’S “Skin” 2

    Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando Electronic version URL: http://journals.openedition.org/imagesrevues/3931 DOI: 10.4000/imagesrevues.3931 ISSN: 1778-3801 Publisher: Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Electronic reference Christina Ferando, “The Deceptive Surface: Perception and Sculpture’s “Skin””, Images Re-vues [Online], 13 | 2016, Online since 15 January 2017, connection on 30 January 2021. URL: http:// journals.openedition.org/imagesrevues/3931 ; DOI: https://doi.org/10.4000/imagesrevues.3931 This text was automatically generated on 30 January 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. The Deceptive Surface: Perception and Sculpture’s “Skin” 1 The Deceptive Surface: Perception and Sculpture’s “Skin” Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando This paper was presented at the Institute of Fine Arts, New York University, as part of the symposium “Surfaces: Fifteenth – Nineteenth Centuries” on March 27, 2015. Many thanks to Noémie Étienne, organizer of the symposium, for inviting me to participate and reflect on the sculptural surface and to Laurent Vannini for the translation of this article into French. Images Re-vues, 13 | 2016 The Deceptive Surface: Perception and Sculpture’s “Skin” 2 1 Sculpture—an art of mass, volume, weight, and density.
  • Caroline Murat: Powerful Patron of Napoleonic France and Italy

    Caroline Murat: Powerful Patron of Napoleonic France and Italy

    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century.
  • Homoeroticism in Neoclassical Poetics: French Translations of the Ideal Male Nude in Late-Eighteenth-Century Word and Image

    Homoeroticism in Neoclassical Poetics: French Translations of the Ideal Male Nude in Late-Eighteenth-Century Word and Image

    Homoeroticism in neoclassical poetics: French translations of the ideal male nude in late-eighteenth-century word and image. Satish Padiyar, University College London, PhD. 1999 BIBL LONDON flnv. 1 Abstract The thesis consists of four chapters, an Introduction and a Conclusion. The Introduction considers the theoretical frameworks within which recent readings of the late-eighteenth-century French homoerotic ideal male nude have been developed; and how these readings have in turn emerged from a wider extra-art-historical discourse on the sexual politics of representation and the representation of sexual politics. A clear picture of the ideal male nude as a contested field emerges; and a justification of the materials which will be used in the thesis clarifies their critical engagement with these polemical debates surrounding the object of study. Chapter 1 is in two parts. Part one deals with the possibilities of a textual representation of homosexuality in French neoclassical poetics by focusing on the notion of 'anacréontisme' as a synonym for 'veiled' homoeroticism. Contrary to the present understanding of the notion, it is argued here, by recourse to successive French translations of the Greek source text, that homosexuality was explicitly problematized in the development of anacréontisme as a critical term, rather than consensually hidden. Part two reviews a social history of homosexuality in eighteenth-century France, in order to contextualize the preceding anacreontic debate. A Kantian reading of the beau ideal, in Chapter 3, attempts to contradict the now dominant understanding of this figure as being simply a high-cultural sign of patriarchal dominance. The chapter traces the philosophical coordinates of the beau ideal from the late seventeenth century until the moment when this figure coincides with the Kantian transcedental aesthetic, and thereby propels it into an anti-ideological space.
  • Wreck: Gericault and the Body in Pieces

    Wreck: Gericault and the Body in Pieces

    Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9.
  • An Analysis of Jacques-Louis David's History

    An Analysis of Jacques-Louis David's History

    Bound Away: The Liberty Journal of History Volume 4 Issue 1 Article 2 February 2021 Death and the Transformation of Women’s Roles Surrounding Death: An Analysis of Jacques-Louis David’s History Paintings Miranda Boljat [email protected] Follow this and additional works at: https://digitalcommons.liberty.edu/ljh Part of the Cultural History Commons, European History Commons, Fine Arts Commons, Other History of Art, Architecture, and Archaeology Commons, Painting Commons, and the Social History Commons Recommended Citation Boljat, Miranda (2021) "Death and the Transformation of Women’s Roles Surrounding Death: An Analysis of Jacques-Louis David’s History Paintings," Bound Away: The Liberty Journal of History: Vol. 4 : Iss. 1 , Article 2. Available at: https://digitalcommons.liberty.edu/ljh/vol4/iss1/2 This Article is brought to you for free and open access by Scholars Crossing. It has been accepted for inclusion in Bound Away: The Liberty Journal of History by an authorized editor of Scholars Crossing. For more information, please contact [email protected]. Death and the Transformation of Women’s Roles Surrounding Death: An Analysis of Jacques-Louis David’s History Paintings Abstract Jacques-Louis David is remembered today for his contributions to the world of Neoclassical art before the French Revolution, during the Revolution, and during the reign of Napoleon Bonaparte. His body of work represents an impressive journey from his Rococo roots to his Neoclassical political works to his many different portraits of Napoleon. In comparing his pieces, an observer can track the development of a variety of themes. Specifically, it is possible to see the different ways David portrayed the event of death in his history paintings.
  • Of Antonio Canova (1757–1822) by Angelika Kauffman (1741-1807); the Notable Postcard 23 Sculptor Was About Forty Years Old

    Of Antonio Canova (1757–1822) by Angelika Kauffman (1741-1807); the Notable Postcard 23 Sculptor Was About Forty Years Old

    Volume 56, No. 4 www.vaticanphilately.org January 2008 ‘Le‘Le FormeForme Belle’Belle’ ofof AntonioAntonio CanovaCanova DANIEL A. PIAZZA—[email protected] In this beloved marble view, Above the works and thoughts of man, What Nature could, but would not, do, IN THIS ISSUE Beauty and Canova can! 1 President’s Message 3 The Blue Pencil 4 Il Vaticanista 5 Mourning Covers 10 Vatican Rate Charts 15 Pontifical Page 18 Meet the Member: Hector Cairns 19 Auction Watch 20 Society Auction 21 Secretary-Treasurer’s Report 22 Fig. 1: A 1796 oil portrait of Antonio Canova (1757–1822) by Angelika Kauffman (1741-1807); the Notable Postcard 23 sculptor was about forty years old. He is shown with a small clay model of Hercules and Lichas. The finished work—which is nearly eleven feet high—may be seen on a ȭ60 Italian stamp cele- brating Canova’s two hundredth birthday (Inset, Scott #723). More Aldo Raimondi 24 Author’s note: Antonio Canova’s 250th birth anniversary was noticeably quashed the Jesuit order under pressure from Bourbon absent from Vatican City’s 2007 philatelic program, a lapse that became princes of Europe, who considered them to be papal fifth even more striking when Italy and San Marino released stamps for the occasion. (Carlo Goldoni merited two Vatican singles and a souvenir columnists. The move polarized public opinion, and when sheet even though his plays often attacked Catholicism and mocked the Canova’s monument was unveiled the pro– and anti–Jesuit clergy.) When rumors of an unannounced Vatican stamp issue reached factions eagerly scrutinized it for any hint of favoritism.
  • HOTELS | PROGRAMS | ISLAND HOPPING | TOURS | CRUISES | CAR RENTAL | YACHT CHARTER | TURKEY EXTENSIONS Meteora

    HOTELS | PROGRAMS | ISLAND HOPPING | TOURS | CRUISES | CAR RENTAL | YACHT CHARTER | TURKEY EXTENSIONS Meteora

    GREECE 2020 HOTELS | PROGRAMS | ISLAND HOPPING | TOURS | CRUISES | CAR RENTAL | YACHT CHARTER | TURKEY EXTENSIONS Meteora 2 GREECE 2020 • GREECE AND MEDITERRANEAN TRAVEL CENTRE Welcome to Greece As my second home and where Greece and Mediterranean Travel Centre began, Greece holds a special place in my heart. Its hidden gems are still exciting for me to share and I love being able to offer the Halina Kubica traditional Greece, known only to locals, Owner & Managing Director as well as the popular ancient treasures Greece is renowned for. It always surprises travellers when they discover there are 227 idyllic inhabited islands, stunning ruins, and mountainous mainland to explore of unique beauty and rare customs. Sampling freshly cooked local food at the small taverna with the stunning backdrop of the Aegean Sea is the highlight of each of my trips and I hope will be yours too. Let us show you Greece like you’ve never imagined, so you can experience a little piece of our home. GREECE 2020 • GREECE AND MEDITERRANEAN TRAVEL CENTRE 3 Let us take you on the Trip of a Lifetime Greece and Mediterranean Travel Centre is your local boutique Australian owned and operated company. We have been designing holidays with the Australian traveller in mind for over 17 years. With personal, hands-on service, you can rest assured that your holiday will be impeccable from start to finish. Travel with us and experience the difference... Athens Zakynthos 4 GREECE 2020 • GREECE AND MEDITERRANEAN TRAVEL CENTRE Santorini Expert Knowledge Trusted Security We are destination experts of Greece and the Mediterranean.