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Review of the Year 2012–2013
review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way. -
RCEWA Case Xx
Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest: Note of case hearing on 18 July 2012: A painting by Pablo Picasso, Child with a Dove (Case 3, 2012-13) Application 1. The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) met on 18 July 2012 to consider an application to export a painting by Pablo Picasso, Child with a Dove. The value shown on the export licence application was £50,000,000, which represented the sale price. The expert adviser had objected to the export of the painting under the first, second and third Waverly criteria i.e. on the grounds that it was so closely connected with our history and national life that its departure would be a misfortune, that it was of outstanding aesthetic importance and that it was of outstanding significance for the study of the birth of modernism and the reception of modernism in the UK. 2. The seven regular RCEWA members present were joined by three independent assessors, acting as temporary members of the Reviewing Committee. 3. The applicant confirmed that the value did include VAT and that VAT would be payable in the event of a UK sale. The applicant also confirmed that the owner understood the circumstances under which an export licence might be refused and that, if the decision on the licence was deferred, the owner would allow the painting to be displayed for fundraising. Expert’s submission 4. The expert had provided a written submission stating that the painting, Child with a Dove, was one of the earliest and most important works by Picasso to enter a British collection. -
Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor. -
Review of the Year 2010–2011
TH E April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March Contents Introduction 5 Director’s Foreword 6 Acquisition 8 Loans 10 Conservation 16 Framing 20 Exhibitions and Display 26 Education 42 Scientifi c Research 46 Research and Publications 50 Private Support of the Gallery 54 Financial Information 58 National Gallery Company Ltd 60 Trustees and Committees of the National Gallery Board 62 Figurative Architectural Decoration inside and outside the National Gallery 63 For a full list of loans, staff publications and external commitments between April 2010 and March 2011, see www.nationalgallery.org.uk/about-us/organisation/ annual-review – The Trustees and Director of the National Gallery da Vinci), increased corporate membership and have spent much of the year just past in making sponsorship, income from donations or otherwise. plans to enable us to deal with the implications of The Government has made it clear that it cuts to our income Grant in Aid, the government wishes to encourage cultural institutions such as funding on which we, to a large extent, depend the National Gallery to place greater reliance on to provide our services to the public. private philanthropic support, and has this year At an early stage in the fi nancial year our income taken some fi rst steps to encourage such support, Grant in Aid was cut by %; and in the autumn we through relatively modest fi scal changes and other were told that we would, in the period to March initiatives. We hope that further incentives to , be faced with further cumulative cuts to our giving will follow, and we continue to ask for the income amounting to % in real terms. -
Teachers' Resource
TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. -
Woman and Books
Images of women reading or holding a book are very common in European Woman painting from the Renaissance onwards. Books have symbolic connotations of and Books status, knowledge and refinement. The tour highlights works containing this image and classifies them into three A Reflection through groups: Annunciation scenes, Renaissance portraits, and women reading in the Western Painting 19th and 20th centuries. Inés Alberdi images of the annunciation Professor of Sociology, The Annunciation is the episode in the life of the Virgin Mary where the Universidad Complutense, Madrid archangel Gabriel announces to her that she is going to give birth to Jesus, Commentaries on the works written by and she is often depicted holding a book in these scenes. Books are symbols the departments of Old Master Painting and Modern Painting, Museo Nacional of both elegance and piety. Reading adds a humanistic aspect to the idealisa Thyssen-Bornemisza tion of Mary as an example of female excellence. The image of a young girl reading, based on this iconography of the Virgin in the Annunciation, evokes an air of piety and virtuousness, but also of autonomy, of having free time for herself. And by extension it conveys a pos itive view of education for women. The iconography of the Annunciation is contradictory: the young woman’s words stress her submission and humil ity, but the presence of the book she holds expresses an idea of intellectual superiority and capacity. renaissance portraits Portraits of ladies with books have a noticeable elegance that is afforded by cul ture and the huge importance society attaches to knowledge. -
The Emil Bührle Collection: Works of International Artists – the Complete List
The Emil Bührle Collection: Works of international artists – the complete list Lukas Gloor This list was compiled based upon the archive of the Foundation E.G. Bührle Collection, Zurich, and includes all the 633 purchases of artworks (paintings, works on paper, sculptures) made by Emil Bührle for his private collection mostly between 1936 and 1956. Much useful information was supplied by Laurie A. Stein, Chicago/Berlin and her provenance research on behalf of the Emil Bührle Collection, which helped to locate many sources on Emil Bührle’s acquisitions in other archives. The list is in chronological order, with the medieval sculptures in the collection at the end. There is also an appendix containing a list of works by Swiss artists that were acquired for the Oerlikon Bührle & Co. machine tool company as well as the pictures that entered the collection via the Prix Buhrle, which was sponsored by Bührle in Paris in 1952 and 1953. (Neither list claims to be exhaustive.) The list does not contain the small number of works of applied and antique art acquired by Emil Bührle. The locations indicated for the works are those that applied when the Foundation E.G. Bührle Collection was established in February 1960. Works transferred to the Foundation by Emil Bührle’s heirs at the time are listed as such, together with their numbers in the foundation deed; those that remained in private ownership are listed as 1960 : PC. The list discloses the prices paid for the works when purchased, where known. They are published in the belief that this information is of importance to historical research into the art market and reveals much about the motivations underlying the creation of an individual collection. -
The Holy Family with Two Saints, a Work from the Workshop of the Master of the Antwerp Adoration
The Holy Family with Two Saints, a work from the workshop of the Master of the Antwerp Adoration Catheline Périer–D’Ieteren This text is published under an international Attribution–NonCommercial–NoDerivs Creative Commons licence (BY–NC–ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by–ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa–Fundación Museo de Bellas Artes de Bilbao Photography credits © Adri Verburg / Royal Museum of Fine Arts Antwerp: figs. 16, 17 and 18 © Bilboko Arte Ederren Museoa Fundazioa–Fundación Museo de Bellas Artes de Bilbao: figs. 1, 6–15, 22, 25, 28, 31, 33 and 39 © Christie’s Images / The Bridgeman Art Library Nationality: fig. 36 Cortesía Catheline Périer–D’leteren: figs. 24, 27, 30, 32 and 34 Cortesía Peter van den Brink: fig. 35 © Museum De Lakenhal, Leiden, The Netherlands: fig. 2 © Picture Library. Ashmolean Museum: fig. 20 © Prof. Dr. J.R.J. van Asperen de Boer / RKD, The Hague. Infrared reflectography was performed with a Grun- dig FA 70 television camera equipped with a Hamamatsu N 214 IR vidicon (1975); a Kodak wratten 87A filter cutting–on at 0.9 micron was placed between the vidicon target surface and the Zoomar 1:2 8/4 cm Macro Zoomatar lens. -
Artists at Work Artists at Work
Artists at Work Artists at Work Deanna Petherbridge and Anita Viola Sganzerla edited by Ketty Gottardo and Rachel Sloan Contents First published to accompany Artists at Work The Courtauld Gallery, London, 3 May – 15 July 2018 The Courtauld Gallery is supported by the 7 Higher Education Funding Council for England (hefce) Foreword The programme of the Gilbert and Ildiko Butler Drawings Gallery is generously supported by The International Music and Art Foundation 9 Preface 11 Playful Images of Allegory and Actuality Copyright © 2018 Texts copyright © 2018 the authors deanna petherbridge All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. 32 isbn 978-1-911300-44-1 British Library Cataloguing in Publication Data Catalogue A catalogue record for this book is available from the British Library anita viola sganzerla Produced by Paul Holberton Publishing 89 Borough High Street, London se1 1nl www.paulholberton.com 83 Designed by Laura Parker Bibliography and Photographic Credits Printing by Gomer Press, Llandysul front cover: Cat. 19 (detail) back cover: Cat. 7 (detail) frontispiece: Cat. 3 (detail, larger than actual size) Foreword Following A Civic Utopia, organised in 2016 with Drawing I wish to extend my warm thanks to Anita Viola Matter Trust, Artists at Work is the second exhibition in the Sganzerla, curator of the Katrin Bellinger collection, Gilbert and Ildiko Butler Drawings Gallery to present works who wrote the catalogue entries for this publication and chiefly from a single collection, other than The Courtauld’s contributed to many other aspects of the exhibition. -
April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend .......................................................... -
Exhibitions 1751-75
Neil Jeffares, Dictionary of pastellists before 1800 Exhibitions 1751–75 Salon de Saint-Luc 1751 CRITIQUES ANON. 1751, Lettre de M. H… à M. P…, son ami en province, au sujet Explication des ouvrages de peinture et de sculpture de Messieurs de du concours en peinture et sculpture de MM. de l’Académie de Saint-Luc, l’Académie de S. Luc… , l’ouverture se fera dans une des grandes salles ouvert dans une salle des Grands-Augustins, à Paris, le 20 février 1751: des Augustins, le 20 février 1751, Paris, 1751 MM. les peintres de portraits, tant à l’huile qu’en pastel, viennent Par M. Merelle, Professeur. ensuite et font en bonne partie les honneurs de la salle; mais ce qui 4. Le Portrait de Madame la Marquise de ***, habillée en Sultanne. frappe le plus, ce sont le portrait du Roi et de Mme la Dauphine, de 5. Les Portraits de Monsieur & Madame de ***, de 2 pieds de haut, Mme Adélaïde et de Mme Victoire; on y admire, avec un plaisir mêlé sur 1 pied & demi de large. de respect, les traits de S. M., la grandeur et la bonté, ses 6. Le Portrait en buste de Monseiur de ***, Grand-Croix de Saint- principaux attributs, et ceux de son auguste famille. Ces Louis. respectables portraits sont de M. Liotard, de même que la 7. Le Portrait de l’Auteur par lui-même. Charmante liseuse. Mais, depuis que j’en suis à l’article des portraits, Par M. Guérin, Adjoint. je ne puis m’empêcher d’observer un avantage qu’on a toujours 31. -
Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures.