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Problems of the Baroque in 1975
T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in ^ e w rite r free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 THE INFUSION OF AFRICAN AMERICAN ART FROM EIGHTEEN-EIGHTY TO THE EARLY NINETEEN-NINETIES FOR MIDDLE AND HIGH SCHOOL ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ronald Wayne Claxton, B.S., M.A.E. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Structural Conservation of Panel Paintings 306
PART FOUR Current Approaches to the Structural Conservation of Panel Paintings 306 Florentine Structural Stabilization Techniques Andrea Rothe and Giovanni Marussich by the great flood of 1966 in Florence than by both World Wars combined. Many paintings Mand other artifacts were submerged in the floodwaters for more than eighteen hours. They were covered with mud mixed with heavy deposits of heating oil that had seeped from the storage tanks housed in the many basements of the city.The worst damage was done to the large num- ber of panel paintings in Florence and the surrounding countryside; those that had been submerged swelled many inches beyond their original size. Subsequently, these paintings were subjected to a long and gradual drying process, first in the limonaia, the old hothouses built by the Medici in the Boboli Gardens for their favorite collection of citrus plants. These hothouses were quickly converted into one large humidity chamber. The humidity was raised to 95% at a temperature of 12 °C over a two-year period. Afterward, the treatment was continued in the former army bar- racks of the Fortezza da Basso, which in the meantime had been trans- formed into the largest restoration laboratory in the world; it had, in fact, become an independent governmental department, a soprintendenza, by special decree. Despite the carefully controlled drying process, many of the panels shrank considerably. This shrinkage caused severe blistering and cupping of the paint layers, as well as deformation of the supports (Cianfanelli, Ciani Passeri, and Rossi Scarzanella 1992). Consequently, many of the panel paintings had to be transferred to canvases and to new, rigid supports. -
La Chiesa E Il Quartiere Di San Francesco a Pisa
Edizioni dell’Assemblea 206 Ricerche Franco Mariani - Nicola Nuti La chiesa e il quartiere di San Francesco a Pisa Giugno 2020 CIP (Cataloguing in Publication) a cura della Biblioteca della Toscana Pietro Leopoldo La chiesa e il quartiere di San Francesco a Pisa / Franco Mariani, Nicola Nuti ; [presentazioni di Eugenio Giani, Michele Conti, Fra Giuliano Budau]. - [Firenze] : Consiglio regionale della Toscana, 2020 1. Mariani, Franco 2. Nuti, Nicola 3. Giani, Eugenio 4. Conti, Michele 5. Budau, Giuliano 726.50945551 Chiesa di San Francesco <Pisa> Volume in distribuzione gratuita In copertina: facciata della chiesa di San Francesco a Pisa del Sec. XIII, Monumento Nazionale e di proprietà dello Stato. Foto di Franco Mariani. Consiglio regionale della Toscana Settore “Rappresentanza e relazioni istituzionali ed esterne. Comunicazione, URP e Tipografia” Progetto grafico e impaginazione: Patrizio Suppa Pubblicazione realizzata dal Consiglio regionale della Toscana quale contributo ai sensi della l.r. 4/2009 Giugno 2020 ISBN 978-88-85617-66-7 Sommario Presentazioni Eugenio Giani, Presidente del Consiglio regionale della Toscana 11 Michele Conti, Sindaco di Pisa 13 Fra Giuliano Budau, Padre Guardiano, Convento di San Francesco a Pisa 15 Prologo 17 Capitolo I Il quartiere di San Francesco a Pisa 19 Capitolo II Viaggio all’interno del quartiere 29 Capitolo III L’arrivo dei Francescani a Pisa 33 Capitolo IV I Frati Minori Conventuali 45 Capitolo V L’Inquisizione 53 Capitolo VI La chiesa di San Francesco 57 Capitolo VII La chiesa nelle guide turistiche -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ... -
IMAGES of the MADONNA and CHILD by THREE TUSCAN ARTISTS of the EARLY SEICENTO: VANNI, RONCALLI, and MANETTI Digitized by Tine Internet Arcliive
r.^/'v/\/ f^jf ,:\J^<^^ 'Jftf IMAGES OF THE MADONNA AND CHILD BY THREE TUSCAN ARTISTS OF THE EARLY SEICENTO: VANNI, RONCALLI, AND MANETTI Digitized by tine Internet Arcliive in 2015 https://archive.org/details/innagesofmadonnacOObowd OCCASIONAL PAPERS III Images of the Madonna and Child by Three Tuscan Artists of the Early Seicento: Vanni, Roncalli, and Manetti SUSAN E. WEGNER BOWDOIN COLLEGE MUSEUM OF ART BRUNSWICK, MAINE Library of Congress Catalogue Card Number 86-070511 ISBN 0-91660(>-10-4 Copyright © 1986 by the President and Trustees of Bowdoin College All rights reserved Designed by Stephen Harvard Printed by Meriden-Stinehour Press Meriden, Connecticut, and Lunenburg, Vermont , Foreword The Occasional Papers of the Bowdoin College Museum of Art began in 1972 as the reincarnation of the Bulletin, a quarterly published between 1960 and 1963 which in- cluded articles about objects in the museum's collections. The first issue ofthe Occasional Papers was "The Walker Art Building Murals" by Richard V. West, then director of the museum. A second issue, "The Bowdoin Sculpture of St. John Nepomuk" by Zdenka Volavka, appeared in 1975. In this issue, Susan E. Wegner, assistant professor of art history at Bowdoin, discusses three drawings from the museum's permanent collection, all by seventeenth- century Tuscan artists. Her analysis of the style, history, and content of these three sheets adds enormously to our understanding of their origins and their interconnec- tions. Professor Wegner has given very generously of her time and knowledge in the research, writing, and editing of this article. Special recognition must also go to Susan L. -
(Los Angeles—October 11, 2018) the Los Angeles County Museum of Art (LACMA) Is Pleased to Host the West Coast Presentation Of
Image captions on page 5 (Los Angeles—October 11, 2018) The Los Angeles County Museum of Art (LACMA) is pleased to host the West Coast presentation of Outliers and American Vanguard Art, the first major exhibition to explore key moments in American art history when avant-garde artists and outliers intersected, and how their exchanges ushered in new paradigms based on inclusion, integration, and assimilation. Featuring over 250 works in a range of media, the show will present works by more than 80 self-taught and trained artists such as Henry Darger, Sam Doyle, William Edmondson, Lonnie Holley, Greer Lankton, Sister Gertrude Morgan, Matt Mullican, Horace Pippin, Martín Ramírez, Betye Saar, Judith Scott, Charles Sheeler, Cindy Sherman, Bill Traylor, and Kara Walker. Outliers and American Vanguard Art is curated by Lynne Cooke and organized by the National Gallery of Art, Washington DC, where it was on view January 28–May 13, 2018. The show then traveled to the High Museum of Art in Atlanta, where it was on view June 24–September 30, 2018. The presentation at LACMA is coordinated by Rita Gonzalez, curator and acting department head of Contemporary Art. “LACMA has a longstanding relationship with the content presented in Outliers,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “Parallel Visions: Modern Artists and Outsider Art, presented at LACMA in 1992, signaled the breakdown of a model based on center and periphery relations; and the museum has been bringing vernacular photography, folk art, and art by the self-taught into the collection. We are now pleased to host Outliers and American Vanguard Art, further exploring often overlooked histories and artists.” “Outliers offers a profoundly different way of assessing how modernism unfolded both in official enclaves, like the Museum of Modern Art and Whitney Museum of American Art, but and in peer-to-peer, artist-driven networks,” Rita Gonzalez added. -
The Corsini Collection: a Window on Renaissance Florence Exhibition Labels
The Corsini Collection: A Window on Renaissance Florence Exhibition labels © Auckland Art Gallery Toi o Tāmaki, 2017 Reproduction in part or in whole of this document is prohibited without express written permission. The Corsini Family Members of the Corsini family settled in Florence in the middle of the 13th century, attaining leading roles in government, the law, trade and banking. During that time, the Republic of Florence became one of the mercantile and financial centres in the Western world. Along with other leading families, the Corsini name was interwoven with that of the powerful Medici until 1737, when the Medici line came to an end. The Corsini family can also claim illustrious members within the Catholic Church, including their family saint, Andrea Corsini, three cardinals and Pope Clement XII. Filippo Corsini was created Count Palatine in 1371 by the Emperor Charles IV, and in 1348 Tommaso Corsini encouraged the foundation of the Studio Fiorentino, the University of Florence. The family’s history is interwoven with that of the city and its citizens‚ politically, culturally and intellectually. Between 1650 and 1728, the family constructed what is the principal baroque edifice in the city, and their remarkable collection of Renaissance and Baroque art remains on display in Palazzo Corsini today. The Corsini Collection: A Window on Renaissance Florence paints a rare glimpse of family life and loyalties, their devotion to the city, and their place within Florence’s magnificent cultural heritage. Auckland Art Gallery Toi o Tāmaki is delighted that the Corsini family have generously allowed some of their treasures to travel so far from home. -
Date: Artist: Period/Style: Patron
TITLE:Frontispiece of the codex LOCATION: New Spain (AKA Mexico) DATE: 1541-1542 Mendoza ARTIST: Viceroyalty of New Spain PERIOD/STYLE: Colonial American Art PATRON: Antonio de Mendoza MATERIAL/TECHNIQUE: Ink and color on paper FORM: The Codex Mendoza is a history of the Mexica (a.k.a. Aztec) people and the growth of their empire. The Frontispiece of the Codex Mendoza features an eagle perched on a cactus, which represents the founding of Tenochtitlan, the site of present-day Mexico City. The gods told the Mexica people that such a sighting would show them where to settle. The year was 1325 when the Mexica people went in search of the site of their future home. Led by Tenoch, who can be seen to the left of the eagle with his own cactus behind him, the Mexica ended up settling on an island in the middle of Lake Texcoco. FUNCTION: the Codex Mendoza contains the history of Mexica conquests over the Colhuacan and Tenoyucan, a list of tributes paid by the tribes they conquered, and details of everyday life. The document was sent via ship to Spain, where it was supposed to reach King Charles. However, French pirates captured the ship and took the Codex as booty. The Codex eventually found its way to a member of the French court, Andre Thevet, who was King Henry II’s official cosmographer. Thevet decided to write his name on the Codex in a number of different places, adding yet another layer to its history. Later, it ended up in English hands in the library at Oxford Universi- ty.