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Bibliographic Details for Works Cited Once Or Very Infrequently Are Given in the Main Part of the Dictionary. Monographs And

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Dictionary of pastellists before 1800 BIBLIOGRAPHY Bibliographic details for works cited once or very infrequently are given in the main part of the Dictionary. Monographs and articles cited more frequently are referred to in the abbreviated form of name and date only, with details in this Bibliography; a handful of works (such as B&W, i.e. Besnard & Wildenstein 1928) are referred to by initials only. Catalogues and monographs issued to accompany monographic exhibitions are listed with full details under the relevant artist’s entry, and are elsewhere referred to by artist’s name and date. General exhibition catalogues are cited by town and date, and are not cross-referenced here (full bibliographic details may be found under the Exhibitions tab). Anonymous general catalogues of individual museums’ holdings are found under the Museums tab. Salon critics, including anonymous authors identified with reasonable probability, are found under name and date below; others will be found in the form Anon. nnnn (with letter suffix to distinguish multiple entries) under the Exhibitions file for the year of the exhibition, not of later publication. G. ADRIANI, Verzeichnis der Gemälde, Braunschweig, Martha Babcock AMORY, The domestic and artistic life of A 1969 John Singleton Copley…, Boston, 1882 Agasse 1988, monographic exh., v. Dictionary s.v. artist Louise AMPILOVA-TUIL & Catherine Gosselin, “Une AA, v. Ananoff Daisy AGASSIZ, Benjamin Bolomey 1739–1819. Peintre note sur l’iconographie de Saint-Just: l’histoire du A&W, v. Ananoff e du Stadhouder Guillaume V d’Orange. Étude pastel Le Bas”, Annales historiques de la Révolution Olivier AARON, Dessins insolites du XVIII français, Paris, biographique, Lausanne, 1928 française, 2017/4, 390, pp. 203–14 1985 ——, “Benjamin Bolomey…”, L’Annuaire des beaux- Alexandre ANANOFF, “Comment dessinait ——, Jean-Baptiste Marie Pierre, Paris, Cahiers du arts en Suisse, V, 1928–29, pp. 341–48 Fragonard”, Jardin des arts, 33, 1957 dessin français, n.d. [1993] Claude-Jacques-Henri d’AGEVILLE, “Jean-Baptiste ——, L’Œuvre dessiné de Jean-Honoré Fragonard (1732– Tancrède ABRAHAM, “Pierre-André Le Suire et Van Loo”, Dictionnaire de la Provence et du Comté- 1806), Paris, 1961–70 Marguerite-Antoinette-Justine de Corranson, Venaissin, Marseille, 1787, IV, p. 291–95 ——, “Les cent ‘petits–maîtres’ qu’il faut connaître”, miniaturistes”, Réunion des sociétés des beaux-arts des Francesco AGRICOLA, Trattenimenti sulle vernici, ed altre Connaissance des arts, .VII.1964 départements, XV, 1891, pp. 124–32 materie utili...del P. Filippo Bonanni, Ravenna, 1784 ——, L’Œuvre dessiné de François Boucher (1703–1770), Académie adresses: Liste des noms et addresses de MM. les Bernard AIKEMA, “La pittura del Settecento a catalogue raisonné, 1966, I officiers de l’Académie royale de peinture et sculpture, Paris, Venezia”, in Briganti 1990 ——, Ce qu’il faut connaître de la peinture et du dessin ENSBA, Ms.21, cited Williams & Sparks 2018 ——, Ewoud Mijnlieff & Bert Treffers, Italian ancien, Paris, 1983 Bernd ACHENBACH & Ulrich Joost, Lichtenbergs äußere paintings from the seventeenth and eighteenth centuries in —— & Daniel Wildenstein, François Boucher, Paris & Erscheinung, eine kritische Ikonographie, Göttingen, Dutch public collections, Florence, 1997 Lausanne, 1976 1991 ——, Rossella Lauber & Max Seidel, Il collezionismo a —— & ——, L’opera completa di Boucher, Milan, 1980 David ACTON, Master drawings from the Worcester Art Venezia e nel Veneto ai tempi della Serenissima, atti del Jaynie ANDERSON, “Fixing pastels: a letter from Museum, 1998 convegno, Venezia, 21–25.IX.2003, Venice, 2006 Liotard to the 2nd Earl of Bessborough in 1763”, Virginia & Lee ADAIR, Eighteenth century pastel portraits, Rachel AKPABIO, “Madame de Pompadour at Burlington magazine, CXXXVI/1090, .I.1994, pp. 23– London, 1971 Waddesdon Manor”, Apollo, CLV/482. .IV.2002, pp. 25 Audrey ADAMCZAK, “Robert Nanteuil 27–31 Rosemary Baird ANDREAE, Goodwood: art and dessinateur...dessins et pastels”, mémoire de DEA, André M. ALAUZEN, La Peinture en provence du XIVe architecture, sport and family, 2007 Paris IV, 1999 siècle à nos jours, Marseille, 1962 Phil ANDREWS, “A late 16th century building at 137– ——, Robert Nanteuil (ca. 1623–1678), Paris, 2011 J. M. R. de ALCAHALI, Diccionario biográfico de artistas 143 High St Guildford”, Surrey archaeological ——, “Robert Nanteuil: Portrait d’un pastelliste du valencianos, Valencia, 1897 collections, LXXXVIIII, 2001, pp. 267–88 Grand Siècle”, in Nanteuil 2013, pp. 29–33 G. ALESSANDRA, Federico Barocci 1535–1612. L’incanto Otto ANDRUP, “Smaabidrag til Kendskabet om ——, “Présence du pastel au Salon: étude sur del colore. Una lezione per due secoli, Milan, 2009 svenske Kunstnerforhold ved. Frihedstidens l’émergence d’un art”, in Isabelle Pachet, ed., Le Arsène ALEXANDRE, “La cène de Léonard de Vinci”, Slutning”, Tidskrift för konstvetenskap, II, 1917, pp. Salon de l’Académie royale de peinture et de sculpture: Les Arts, 24, .XII.1903, p. 43–45 149–54 archéologie d’une institution, Paris, 172–94. ——, “La collection E. Cronier”, Les Arts, 47, 1905, Henry ANGELO, Reminiscences, London, 1828; new ——, “Robert Nanteuil: portraitiste rémois au siècle pp. 2–32 ed., 1839 de Louis XIV”, Bulletin du Centre de recherche du ——, “Collection de M. le comte Isaac de ANONYMOUS, The art of drawing and painting in water- château de Versailles [on line], 2015 Camondo”, Les Arts, 83, .XI.1908, pp. 2–32 colours, London, 1731; 2nd, 3rd eds. 1732; 4th 1735: v. Charles Kingsley ADAMS, Catalogue of pictures in the ——, “Pour que le Louvre soit parfait”, La Treatises Garrick Club, 1936 Renaissance de l’art français et des industries de luxe, ——, Method of learning to draw in perspective, made easy ——, “Portraiture problems and genealogy”, The 1919, pp. 239–41 and fully explained, London, 1732: v. Treatises genealogist’s magazine, XIV, .IX.1964, pp. 382–88 ——, “Un musée unique sur les grands boulevards”, ——, Arts companion, or A new assistant for the ingenious, —— & Wilmarth Sheldon Lewis, “The portraits of La Renaissance de l’art français et des industries de luxe, Dublin, 1749: v. Treatises Horace Walpole”, Walpole Society, XLII, 1970, pp. 1– 1.I.1926, pp. 47–52 ——, “Lettre d’un amateur de Province sur le secret 34 Paul ALFASSA, “Maurice-Quentin de La Tour, à de fixer le pastel”, Journal œconomique, .II.1758, pp. Jane H. ADEANE, Girlhood of Maria Josepha Holroyd propos de l’exposition au Louvre des pastels de 63–65: v. Treatises (Lady Stanley of Alderley), 1896 Saint-Quentin”, Gazette des beaux-arts, XV, 1919, pp. ——, Secrets concernant les art et métiers, par une Société Jean ADHÉMAR, “Ducreux’s Le Discret. An attribution 129–44 d’artistes, Paris, Moutard, 1790; 2e éd., Paris, established”, The register of the Museum of Art, Brian ALLEN & al., The British portrait 1660–1960, Bossange & Cie, 1791 University of Kansas, Lawrence, II, .VI.1961 Woodbridge, 1991 ——, La Tour. Masters in art, Boston, 1907 Derek ADLAM, The great collector. Edward Hartley, 2nd Denise ALLEN, Masterpieces of the J. Paul Getty Museum: ANON. 17nn: For bibliographic details of anonymous Earl of Oxford, Welbeck, 2013 paintings, Los Angeles, 1988; repr. 1997, 2003 contemporary salon critiques, see Exhibitions Almanach des peintres, v. Le Brun 1776, 1777 www.pastellists.com – all rights reserved 1 Updated 29 September 2021 Garry APGAR, “La ‘Voltairiade’ de Jean Huber”, in Laura AURICCHIO, “Pahin de la Blancherie’s Watteau’s drawings, with an introduction to the Deuber-Pauli & al. 1994, pp. 106–135 commercial cabinet of curiosity (1779–87)”, collecting of modern French drawings during the —— L’Art singulier de Jean Huber, Paris, 1995 Eighteenth-century studies, XXXVI/1, 2002, pp. 47–61 reign of Louis XV”, in Wintermute 1999 —— & al., Voltaire chez lui. Ferney 1758–1778, Yens ——, “Self-promotion in Adélaïde Labille-Guiard’s ——, Patriotic taste, London, 2002 sur Morges, 1999 1785 self-portrait with two students”, The art ——, “Marie-Jeanne Buzeau, Mme Boucher (1716– Louis ARAGON & Jean Cocteau, Entretiens sur le musée bulletin, .III.2007 1796)”, Burlington magazine, .IV.2005, pp. 224ff de Dresde, 1957 ——, Adélaïde Labille-Guiard. Artist in the age of ——, review of Lajer-Burcharth 2018, Burlington Mildred ARCHER & al., Treasures from India: the Clive revolution, Los Angeles, 2009 magazine, CLXII/1406, .V.2020, pp. 454–56 collection at Powis Castle, London, 1987 Elisa AVAGNINA & al., Pinacoteca civica di Vicenza: Baillairgé 1975, monographic exh., v. Dictionary s.v. artist Edward H. H. ARCHIBALD, “The Arnulphy naval catalogo scientifico delle collezioni. II: Dipinti dal XVII al Louis-Guillaume BAILLET DE SAINT-JULIEN, portraits”, Connoisseur, .IX.1962, pp. 38–40 XVIII secolo, Milan, 2003 Réflexions sur quelques circonstances présentes contenant René-Louis de Voyer de Paulmy, marquis Kevin J. AVERY, Marjorie Shelley & al. American deux lettres sur l’exposition des tableaux au Louvre cette d’ARGENSON, Journal et mémoires, éd. E. J. B. drawings and watercolors in the Metropolitan Museum of année 1748, à M. le comte de R***, et une lettre à Rathery, Paris, 1866 Art. I: a catalogue of works by artists born before 1835, Voltaire au sujet de sa tragédie de “Sémiramis”, s.l., 1748 Giovanni Battista ARMENINI, De’ veri Precetti della New York, 2002 [MSW0051; CD iii 38] pittura, 1587 A. AYRES de Carvalho, “Painting”, in Ricardo do ——, Lettres sur la peinture à un amateur, Geneva, 1750 F. ARNAL & A. Chevalier, “Deux Tableaux français Espírito Santo Silva Foundation, Lisbon, 1994 [MSW0056; CD iv 46] des XVIIe et
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    GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET ÅTTONDE NUMRET AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE SKIASCOPE Gränslöst Gränslöst Namnet är hämtat från ett instrument som den inflytelserike museimannen Unbounded Benjamin Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren 1700-tal speglat i nuet möjlighet att fokusera på konsten i de, enligt upphovsmannen, ofta alltför stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, ISBN 978-91-87968-96-9 sannolikt inköpt av Axel L. Romdahl. Vad har Alexander Roslins societetsporträtt Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en och Tobias Bernstrups fotografiska själviscen- glesare hängningsideologi vann mark under mellankrigstiden. Ändå kan nog sättningar i lack och pumps gemensamt? I slu- många museibesökare känna igen sig i det som Gilman beskriver som ett av tet av 1700-talet drogs nya gränser upp kring museiväsendets grundproblemen: den museitrötthet som infinner sig redan köns identitet, konst närsrollen, synen på naturen efter ett par salar. Redan vid sekelskiftet stod det klart att museernas själva och västerlandets förhållande till Kina. I vår tid essens – att samla och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som ifrågasätts och överskrids dessa gränser på nytt, samlande. vilket öppnar för nya perspektiv på konst, mode Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instru- och konsthantverk från 1700-talet. Omvänt kan ment vill vi bidra till att rama in, lyfta fram och intensivt studera frågor som 1700-talets konst säga något om vår tid. vi ser som betydelsefulla.
  • Giorgio Vasari Por Ele Mesmo: a Construção Da Imagem De Si Na Obra De Um Artista E Historiador Entre a Virtude E a Inveja No Renascimento (1511 – 1574)

    Giorgio Vasari Por Ele Mesmo: a Construção Da Imagem De Si Na Obra De Um Artista E Historiador Entre a Virtude E a Inveja No Renascimento (1511 – 1574)

    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA Giorgio Vasari por ele mesmo: a construção da imagem de si na obra de um artista e historiador entre a Virtude e a Inveja no Renascimento (1511 – 1574) Pedro Henrique de Moraes Alvez Dissertação de Mestrado Porto Alegre, Agosto de 2015 PEDRO HENRIQUE DE MORAES ALVEZ Giorgio Vasari por ele mesmo: a construção da imagem de si na obra de um artista e historiador entre a Virtude e a Inveja no Renascimento (1511 – 1574) Dissertação de mestrado apresentada ao programa de Pós-Graduação em História da Universidade Federal do Rio Grande do Sul, para a obtenção do título de Mestre em História. Orientador: prof. Dr. Fernando Felizardo Nicolazzi BANCA EXAMINADORA: Prof.ªDr.ª Joana Bosak de Figueiredo (UFRGS) Prof.ªDr.ª Daniela Pinheiro Machado Kern (UFRGS) Prof.ªDr.ª Mara Cristina de Matos Rodrigues (UFRGS) PORTO ALEGRE. Agosto, 2015 “Sim, aí está o nó do problema,” pensava, “nesta contrafação. Cada um quer impor aos outros o mundo que tem dentro de si, como se fosse algo externo, de modo que todos o devam ver daquele modo, sendo apenas aquilo que ele vê.” (Luigi Pirandello. Um, nenhum e cem mil) AGRADECIMENTOS: Agradeço, em primeiro lugar, às participantes da banca, de forma coletiva, por aceitarem participar dessa ocasião e pela contribuição que trarão ao resultado final dessa pesquisa. Agradeço também individualmente a cada uma delas. À Joana Bosak, que já acompanha o desenvolvimento da minha pesquisa há algum tempo, agradeço também pelos livros que me emprestou e presenteou e que foram muito úteis nesse trabalho.
  • Acquisitions for the Reopened Nationalmuseum, Stockholm, 2011

    Acquisitions for the Reopened Nationalmuseum, Stockholm, 2011

    Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 1 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 2 Stockholm Supplement 2018.qxp_Layout 1 25/09/2018 14:35 Page 3 Acquisitions for the reopened Nationalmuseum, Stockholm, 2011–18 ork on the newly refurbished Nationalmuseum, was a clear educational and art-historical endeavour in the Museum’s Stockholm, which reopens to the public on 13th acquisitions policy, centred on notions of styles and periods, gradually this October, has built on three simultaneous and faded away in favour of a focus on aesthetic experience alone. The solitary parallel projects: renovation and remodelling of artistic genius was seen as supplying material for a dramatic narrative, Wthe building, a new display of the collection and against a backdrop built increasingly around individual masterpieces. new acquisitions. Alongside transforming the old building into a museum that is tter for purpose and more secure, Sleeper awakened by a young woman with a lit wick, or Il Fumacchio, considerable energy has gone into making the collections more accessible. by Nicolas Régnier. c.1622–25. Canvas, 101 by 133 cm. This has involved both showing well-known works from the collections Gift of the Friends of the Nationalmuseum, 2011. NM 7077. in a new way and rediscovering others that, for one reason or another, had fallen into obscurity. This scene of ribaldry was presumably invented by Régnier, a Franco-Flemish A review of the extensive holdings of the Nationalmuseum highlighted Caravaist. A courtesan plays a prank on a handsome young prodigal who has dozed a number of gaps.