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Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
The Holy Family with Saint Elizabeth
The Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels, a copy of Raphael Technical report, restoration and new light on its history and attribution José de la Fuente Martínez José Luis Merino Gorospe Rocío Salas Almela Ana Sánchez-Lassa de los Santos 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 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 2 and 5-19 © Groeningemuseum, Brugge: fig. 21 © Institut Royal du Patrimoine Artistique, Bruxelles: fig. 20 © Museo Nacional del Prado, Madrid: fig. 55 © RMN / Gérard Blot-Jean Schormans: fig. 3 © RMN / René-Gabriel Ojéda: fig. 4 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 17-64. Sponsored by: 2 fter undergoing a painstaking restoration process, which included the production of a detailed tech- nical report, the Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels1 A[fig. -
A Treasure-Trove of Tapestries and Carpets
For Immediate Release 9 January 2003 Contact: Rhiannon Bevan-John (London) 44 (0) 207 389 2964 Céline Hersant-Hoerter (Paris) 33-1-40-76-85-88 A TREASURE-TROVE OF TAPESTRIES AND CARPETS A Brussels Old Testament tapestry from The Story of David, depicting Saul offering armour to the young David. Circa 1525-1530, after a design by Bernard van Orley (estimate £130,000-200,000). Bernard Blondeel & Armand Deroyan: Important Tapestries and Carpets Christie’s London 2 April 2003 London/Paris – Christie’s announced today that the renowned Paris-based specialists, Bernard Blondeel and Armand Deroyan, will offer a superb collection of important tapestries and carpets in London on 2 April 2003. The carefully selected sale of over forty lots, Bernard Blondeel & Armand Deroyan: Important Tapestries and Carpets, marks the retirement of Monsieur Blondeel and celebrates an extraordinary partnership. The sale is expected to realise over £1.5 million. Bernard Blondeel and Armand Deroyan are internationally recognised as being leading figures in their chosen fields, their names are synonymous for works of superb quality and condition, chosen with exquisite, discerning taste. Important tapestries are the central focus of the sale. Examples dating from the late 15th century onwards span nearly 500 years of the art and provide an excellent opportunity for collectors to acquire the very best pieces to enjoy and decorate their homes. Sometimes called the mobile frescoes of the North, tapestries are celebrated for their rich iconography and artistic originality. A unique union of artist designers, workshops and patrons, the tapestry gives a fascinating perspective on Western art history. -
Experience the Flemish Masters Bruegel Programme 2019 Bruegel Programma 2019
EXPERIENCE THE FLEMISH MASTERS BRUEGEL PROGRAMME 2019 BRUEGEL PROGRAMMA 2019 01 FEBRUARY / BRUSSELS BOZAR / BERNARD VAN ORLEY: BRUSSELS & RENAISSANCE BOZAR / PRINTS IN THE AGE OF BRUEGEL 02 MARCH / BRUSSELS BOZAR / FAMILY DAY 03 CASSEL (FRANCE) MUSEE DE FLANDRE / FESTIVALS AND FETES IN BRUEGEL’S TIME APRIL / BRUSSELS, PAJOTTENLAND & GENK 04 BRUSSELS / BEYOND BRUEGEL GROOT-BIJGAARDEN / FLOWERS FOR BRUEGEL GAASBEEK CASTLE / FEAST OF FOOLS: BRUEGEL REDISCOVERED 05 DILBEEK / BRUEGEL’S EYE: RECONSTRUCTING THE LANDSCAPE BOKRIJK / THE WORLD OF BRUEGEL 06 JUNE / BRUSSELS & FLANDERS COUDENBERG PALACE / FAMILY DAY OKV / FLEMISH MASTERS IN SITU 07 08 SEPTEMBER / LEUVEN 09 MUSEUM M / EXPERIENCE THE LAST SUPPER OF DIRK BOUTS IN THE ST. PETERS CHURCH 10 OCTOBER / BRUSSELS & ANTWERP LLS PALEIS / MAD MEG, REBELLION - PROVOCATION - DESPAIR - FEMINISM HALLE GATE / BACK TO BRUEGEL / EXPERIENCE THE 16TH CENTURY 11 ROYAL LIBRARY / BRUEGEL IN BLACK AND WHITE SNIJDERS & ROCKOXHUIS / JAN BRUEGHEL THE ELDER MAYER VAN DEN BERGH MUSEUM / FROM FOUQUET TO BRUEGEL 12 PERMANENT OFFER BRUEGEL ROYAL MUSEUMS OF FINE ARTS OF BELGIUM BRUEGEL: UNSEEN BRUEGEL BOX BRUEGEL PAINTINGS MASTERPIECES Following the immersive Twelve of Bruegel’s masterpieces, An intriguing art experience experience in the ‘Box’, visitors to be found in some of the lets visitors discover the secrets will then be able to admire the most prestigious museums in to be found in Bruegel’s most original ‘Fall of the Rebel Angels’ the world, are presented in famous masterpieces. In one of - and other works by Bruegel - as high-definition detail thanks the museum’s rooms, fascinating it can be seen on the first floor to technology provided by the videos - each dedicated to a of the Old Masters Department Google Cultural Institute. -
Reinterpreting Hieronymus Bosch's Table Top of the Seven
REINTERPRETING HIERONYMUS BOSCH'S TABLE TOP OF THE SEVEN DEADLY SINS AND THE FOUR LAST THINGS THROUGH THE SEVEN DAY PRAYERS OF THE DEVOTIO MODERNA Eunyoung Hwang, B.A., M.F.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2000 APPROVED: Scott Montgomery, Major Professor Larry Gleeson, Committee Member Don Schol, Committee Member and Associate Dean William McCarter, Chair of Art History and Art Education Jack Davis, Dean of the School of Visual Art C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hwang, Eunyoung, Reinterpreting Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things through the Seven Day Prayers of the Devotio Moderna. Master of Arts (Art History), August 2000, 140 pp., 35 illustrations, references, 105 titles. This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS…………………………………………………………………………………………… iv Chapter 1. INTRODUCTION………………………………………………………………………………………… 1 Statement of the Problem Methodology Review of Literature 2. -
Perpetrators & Possibilities: Holocaust Diaries, Resistance, and the Crisis of Imagination
Georgia State University ScholarWorks @ Georgia State University History Theses Department of History 8-3-2006 Perpetrators & Possibilities: Holocaust Diaries, Resistance, and the Crisis of Imagination Eryk Emil Tahvonen Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Part of the History Commons Recommended Citation Tahvonen, Eryk Emil, "Perpetrators & Possibilities: Holocaust Diaries, Resistance, and the Crisis of Imagination." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/history_theses/14 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PERPETRATORS & POSSIBILITIES: HOLOCAUST DIARIES, RESISTANCE, AND THE CRISIS OF IMAGINATION by ERYK EMIL TAHVONEN Under the Direction of Jared Poley ABSTRACT This thesis examines the way genocide leaves marks in the writings of targeted people. It posits not only that these marks exist, but also that they indicate a type of psychological resistance. By focusing on the ways Holocaust diarists depicted Nazi perpetrators, and by concentrating on the ways language was used to distance the victim from the perpetrator, it is possible to see how Jewish diarists were engaged in alternate and subtle, but nevertheless important, forms of resistance to genocide. The thesis suggest this resistance on the part of victims is similar in many ways to well-known distancing mechanisms employed by perpetrators and that this evidence points to a “crisis of imagination” – for victims and perpetrators alike – in which the capability to envision negation and death, and to identify with the “Other” is detrimental to self-preservation. -
ANSWER: Black Hawk War
Yale University Bulldogs over Broadway--December 4, 2004 Edited by Mike Wehrman Questions by Princeton (Dan Benediktson, Jordan Boyd-Graber, Chris Frankel, Lenny Kostovetsky) Tossups 1. This conflict broke out after the breaking of a peace treaty negotiated by Edmund Gaines and John Reynolds and signed at Fort Armstrong. Military forces began massing at Beardstown, and days later at Old Man's Creek in Dixon, fighting broke out with the Battle of Stillman's Run. After an extensive chase along the Rock River, its namesake surrendered, but not before seeing over 800 of his men massacred at the Bad Axe River. Fought over the presence ofthe Sauk and Fox tribes in the Illinois territory, this was, FTP, what 1832 war named for an Indian chief who opposed the American forces? ANSWER: Black Hawk War 2. A divorced and disgraced mother-in-law trying to re-enter society divides the husband and wife protagonists in this play, but she runs off to accept a proposal of marriage from Augustus, allowing Arthur and Margaret to reconcile. The title object, a birthday gift with which Margaret initially threatens to hit her mother, causes a brief scandal when discovered by Cecil Graham in the room of Lord Darlington, and later is given as a gift by Margaret to the woman revealed as her mother, Mrs. Erlynne. FTP, name this Oscar Wilde play about a titular jealous noblewoman. ANSWER: Ladv Windermere's Fan 3. The title character works at Foree electronics, which shares its name with a star of the movie from which this film derived its name. -
Courant 7/December 2003
codart Courant 7/December 2003 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction codartis an international council for curators of Dutch and Flemish art. -
Reading Beds and Chambers in Late-Medieval England
Between the Sheets: Reading Beds and Chambers in Late-Medieval England Hollie Louise Spencer Morgan Doctor of Philosophy University of York Centre for Medieval Studies August 2014 Hollie L. S. Morgan ABSTRACT This thesis explores the cultural meanings of beds and chambers in late-medieval England. It argues that the cultural phenomenon of the chamber, which emerged in England in the later middle ages, had profound and wide-reaching effects on late- medieval society and affected both those who had chambers and those who did not. This thesis has a strictly interdisciplinary approach, using a range of literary, documentary, visual and archaeological sources, and demonstrates how these sources informed and were informed by cultural associations and assumptions surrounding the bed and chamber. Its analysis of how members of society considered and interacted with the bed and chamber contributes to current discourse on space and objects. Additionally, its in-depth analysis of how cultural meanings of the bed and chamber were articulated and perpetuated sheds new light on late-medieval literature and social practice. This thesis is structured around a set of precepts known as “Arise Early”. Chapter One, “Fyrst Arysse Erly”, reconstructs the physical components of both real and ideal beds and chambers. Chapter Two, “Serve Thy God Deuly”, focuses on the bed and chamber as an appropriate space in which to encounter God and engage in domestic piety. Chapter Three, “Do Thy Warke Wyssely […] And Awnswer the Pepll Curtesly”, analyses how the cultural associations of the bed and chamber with intimacy and sound judgement impacted on personal and political communication and administration. -
Student Questions for Death and the Miser
Reading a Work of Art: Student Questions for Death and the Miser Listed below are the questions students respond to when working with the Reading a Work of Art Online Tool. Crucifix 1. What is the symbolic meaning of the beam of light? 2. How does the beam of light’s symbolic meaning contribute to the protagonist’s conflict? Demon over the bed 1. What is the symbolic meaning of the Demon perched on top of the bed? 2. How does the demon perched on top of the bed contribute to the main conflict of this work? Death 1. What is the symbolic meaning of the image of Death? What specific aspect of death is being communicated by this symbol? 2. Describe Death’s effect on the dying Miser. What comment does this make about how Middle Age society viewed death? 3. Read Emily Dickinson’s poem “Because I could not stop for Death" (712). What is the difference between Dickinson’s attitude towards death in her poem and the Miser’s attitude towards death in this painting? Dying Miser 1. Identify the denotative and connotative meanings of the word miser. 2. Is the miser looking at Death, the demon, or the crucifix? Explain the significance of the direction in which he is looking. 3. Describe the movement of the dying Miser. What does this movement suggest about the nature of the Miser’s character? 4. What is the conflict being experienced by the Miser? Identify the elements that are causing this conflict. Demon beside the bed 1. What is the symbolic meaning of this demon’s movement? 2. -
Sometime in the Near Future, Future Foods
Mars Repetina: Constructing Disease during the Black Death and AIDS Epidemics 1 There are many parallels between the Bubonic Plague of 1350 and the AIDS epidemic. Though plagues have been present throughout the world’s history, these particular two episodes pose some of the most interesting iconographical questions relevant today. First, artists addressing the Black Death developed a consistent iconography throughout Europe, and second, artists today have purposefully evoked this iconography as a platform from which further exploration of AIDS and image can take off. Both eras faced hysteric populations trying to come to grips with death and the “victim,” and despite certain paranoid explanations proposed by religious and homophobic commentators today, “AIDS looks to us, as the plague of 1348 did to the people of medieval Europe, like an inexplicable and horrific exogamous calamity.”1 This paper, then, will address the way in which the visual arts of the respective eras both reflected and affected cultural expectations in medicine, politics, economy, and religion when faced with the situation of wide spread death. I first became interested in the correlation between the two eras when I discovered the work of Robert Farber. His “Western Blot” series, produced between 1991-1994 was a series of 23 painting-constructions that reflected on parallels between the Black Death of 1348-50 and AIDS. The Western Blot itself is one of two tests used to detect HIV, a title that Farber appropriated for works he considered both symbolic and literal in approach and construction. He used quotes within his works taken directly from witnesses and victims of the Black Death and AIDS.2 The striking resemblance in responses is complemented even further by Farber’s view of himself as historian, adding panels upon panels to the works, symbolizing the passage of time.