Faithful Friends

Total Page:16

File Type:pdf, Size:1020Kb

Faithful Friends Valentiner Meyers Given 24 Water Weasels DETROIT SUNDAY TIMES C April 8. 1945—Part I, Page 11 Dr. Friends . Good Housekeeping Faithful“/ pray thee, give them me, that birds to gentle, unto which the Scripture likeneth chaste and humble In Carriers’ Bag and faithful souls, may not fall into the hands of TABLE PADf Quit cruel To Post men that would kill them”—St Francis Assisi. Knudsen Post Stop chances with your Ml Times Boys Near taklnf table. Be sale, be tare with Art Institute Head Detroit Officer Half Way Mark a Good Housekeeping table Old Masters Authority pad. None better made, none Succeeds General better fitted. Nu-wood grain One Water Weasel short of their patterns William R. Valentiner, with choice of colors half way mark! Detroit Times and soil felt back. Priced fromIMP tor of the Detroit Art Insti- An army career officer will suc- t carriers Saturday had purchased Let our representative measure lute, by some ceed Gen. William S. Knudsen. and considered the Lt 24 Water Weasels and havg 26 to your table and show «am. world’s on M ¦BHg : production pies of foremoat authority old former automotive go to reach their goal ... 50 heat-proof, liquid- proof and masters, will retire this month. geniu* of General Motors Corp., Water Weasels purchased for the washable table pads. his wife, of the air technical Shop at koms by Dr. Valentiner and as director army through calling TR 2-1455, day Cecilia, are at their newly en- service command May 1. 24 Bought the sale of war or night. \ gaged apartment in New York, Knudsen, who in July. 1944. wa* savings stamps it was reported Saturday. He will assigned the task of consolidating Good Housekeeping Table Pad Co. be 65 years old on May 2 and the pld AAF material command this home front MjjjM eligible to a city pension. and the air service command, will army of Times 7310 Woodward Ave Dr. Valentiner was bom in devote all his time to the larger carriers in this Karlsruhe, ny, recently Ge rma job of directing all army produc- by the French First Army, was Roy Peter*. f’errun the the son of Dr. Wilhelm Valentiner, tion for war department. istronomer of note, privy coun- He will be succeeded in the air whose Sat* cilor and director of the Heidel- technical service po*t by another 26 to Co! urd a y tally YOU CAN HAVE CHICKENS berg Observatory. The son was Detroiter who has been his showed the sale formerly assistant director the of 98,355 10-cent war stamps or Here’s a tip. Raisa of deputy, Maj. Gen. Bennett E. enough Rerlin Art Museum. their equivalent in bonds, chickens either for your Art Museum. Meyers. to purchase two Water Weasels, own use or as a lucrative easy MEYERS LONG ARMY MAN the army’s new’ sea-going jeeps business. It’s with BROUGHT IN BY MORGAN which are named after the feroci- a modern, scientifically pro- His mother was a daughter of Meyers, long a recognized ous, tenacious animals, which stop built chicken house. the famous Egyptologist, Karl duction expert in the AAF, liter- at nothing. Come in for details. Richard Lepsius. ally grew up in the army. He was Other leaders: Don Ureel. 180% He was brought to this country commissioned from the ranks in iHickory; Chet Brown. 4051 Lilli- In 1908 by J. Pierpone Morgan as .. .. AI World War I He remained in the bridge; Sam Freedman. 2903 curator of the Metropolitan | S 3 army after Waverly; Micallef, Museum of Art, and came to De- as flying instructor Vincent 1543 troit in October. 1924 the armistice Eighth; Billy Brennan. 9057 Crane; Complete During the depression Dr. Val- In 1920, Meyers was trans- Ronald Williams. 5214 Mitchell; liquida- pntiner was the target for those ferred to Detroit to direct Stanley Wilk, 4450 Riopelle; Ray- Sill who wished to fire city employes tion of surplus material from mond Duley, Wyandotte, and who were World War I. He performed sim- 6xl’ aliens. He became a Wyandotte. NO MONEY DOWN citizen in 1935. ilar jobs in Buffalo and New Ronald Endicott. ¦ . ¦¦ : .i : IR York, served four years in Hawaii, This drive has only five weeks Built of lumbar In our Easy Payments AUTHORITY own REMBRANDT • /-s' :-yfL yZTI and in 1927 was assigned to to go. Its success depends on the shops. Easy to assemble com- MODELS ON DISPLAY An authority on Rembrandt on Wright Field. 0.. where his train- liberality with which you and plete sections including floor, whom he has wntten over 50 ing as a production expert began. thousands of others purchase war roof, windows, walls, venti- Phene SL 8481 works, Dr. Valentiner's great fight This training included a year's stamps and bonds through Times lator and hardwara. Out-of- was to bring art to the masses. ilfcr study of industrial research and carriers. town ordare takan. Also in In 1938, he was loaned to the war procurement planning in the Help the carriers buy 50 Water 6xlo, 10x12 and 10x16 sixas. INTERSTATE as it* exclusive army industrial college, Help win war! Help World's Fair in New York “Major,” the pet cocker spaniel of the dsco Presidio, waiting patiently for Pvt. Weasels! the Opan Sun., 9 A. M. to 2 P. M, (* director general of art. and two years devoted to business yourself to build a safe and sub- ASPHALT LUMBLR CO 400th AAF WAC barracks in San Fran- Beth Fleming to finish letter home. management in Babson Institute. Dr. and Mrs. Valentiner have a her stantial nestegg! War savings Monday and Friday ivtnlngs MOVHD AT /O M/T6 KD daughter living in Cali- RETURNS TO OHIO stamps and bonds are backed by Until • By EVE JOLLY Uncle and are the world's He returned to Wright Field in soundest investment. Churchill's Wife I/VERPRESENT at this time of Change 1933 and remained there until Body of Man in Rivar the year is the danger of fledg- Center to September 1940, when he took The body of a man tentatively lings dropping from nests and charge of aircraft procurement in Washington. com- identified by police as Oorge Received by Stalin being easy prey for cats and dogs. He assumed Garrett, 54. of 481 Henry was dis- mand of the AAF material com- LONDON, April 7 CUPt Mos- Many letter* have asked that Monday covered floating in the Detroit Name mand in 1914. and remained as MONDAY-atike RELIABLE cow radio i-aid that Marshal River at the foot of Mt. Elliott we give some indication in this Knudsen's deputy under the late Saturday by a passer-by who Stalin today received Mrs. column a* to the care and treat- merger of that organization and Social Work Among the air service command. called police. Churchill. these young “orphans.” ment of Knudsen was appointed to his The very' best “treatment” is to Agency's Efforts first defrnse post June 1. 1940. He get the fledgling hack into the nest became director general of OPM The sign East Chance Remark Leads as quickly as possible. YWCA at 2431 in January. 1911. and director of he army production However, some birds so far re- Grand Blvd. will painted over all a year later Monday as the final step in the He undertook the job of consoli- sent the scent of human hand on dating transition of the International all production and supply their young, that they will desert army Center, an into for the air forces under one Yanks to Nazi Bullion old YWCA agency, a ago them. the new International Institute of operating head year He completing assign- MERKERS, Germany, April 7 hidden horde of paintings from So in all case* it i* wisest to Detroit now is this ment. <UP> A chance remark over- Berlin museum*. Dr. William R. move the bird on cardboard, or a Supported by the Community of the I>e- V the Valentiner. director sturdy, spatula than Fund and War Che>t and organ- AD F.RT 18 EMENT heard by an alert MP led to troit Art, to- wide rather Institute of said touching him with your ized with the co-operation of the diacovery of what is believed to be night in New- York hands. of Agencies, the always the possibility Council Social the entire German gold reserve by The Madonna would “of There is new organization, incorporated that the parent bird may have STQMATONE of Third course'* be one of the paintings Jan. 1, was formally introduced the 90th Division the into met with an accident and that cold Tablets Are Just Grand for Army. the Germans w’ould rush to the press Saturday. hiding, said.) or hunger has caused the fledgling purpose two he “The of the institute STOMACH-SIFFERERS Yesterday afternoon Ger- to flutter from the nest, so it is is to provide a center for infor- who were on their LAW YER ALSO A GUARD to watch to They neutralize r>c«ii acid at one*, af- man women wise the nest he sure mation. service and assembly IMMEDIATE RELIEF from bleat- the mother fordtnc way to find a midwife for a friend Another of the German guard- reclaims her young. for people of all nationalities inf, gat, lour itomach, heartburn and were stopped by two American • • • acid indigaatien. They balp to rid tha 2-pc. LIVING ians was Wolf von Kurzel, an and races,” Henry’, ' ROOM Dr. David D. bewal* of poiaonou* waataa, gently military' policemen for crossing occasion, and Genuine suite, Austrian, who said his uncle.
Recommended publications
  • Bertoia, Harry
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Harry Bertoia (American Sculptor and Designer, 1915-1978) Arieto Bertoia was born on March 10, 1915, in the small village of San Lorenzo, Friuli, Italy, about 50 miles north of Venice and 70 miles south of Austria. He had one brother, Oreste, and one sister, Ave. Another sister died at eighteen months old; she was the subject of one of his first paintings. Even as a youngster, the local brides would ask him to design their wedding day linen embroidery patterns, as his talents were already recognized. He attended high school in Arzene, Carsara, until age 15. He then accompanied his father to Detroit to visit his brother Oreste. Upon entering North America, his birth name Arri, which often morphed into the nickname Arieto ("little Harry" in Italian), was altered to the Americanized "Harry." Bertoia stayed in Michigan to attend Cass Technical High School, a public school with a special program for talented students in arts and sciences. Later, a one-year scholarship to the Art School of the Detroit Society of Arts and Crafts allowed him to study painting and drawing. He entered and placed in many local art competitions. By the fall of 1937, another scholarship entitled him to become a student, again of painting and drawing, at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Cranbrook was, at the time, an amazing melting pot of creativity attracting many famous artists and designers: Carl Milles, resident-sculptor, Maija Grotell, resident-ceramist, Walter Gropius, visiting Bauhaus- architect, and others.
    [Show full text]
  • Art and Science Come Together in Detroit Institute of Arts' Exhibition "Bruegel's the Wedding Dance Revealed" !
    AiA News-Service Art and science come together in Detroit Institute of Arts' exhibition "Bruegel's The Wedding Dance Revealed" ! Expert Dr. Tomasz Wazny (Nicolaus Copernicus University in Torun) assesses the edge of wood panel of The Wedding Dance as part of the dendrochronological analysis. DETROIT, MICH.- The Detroit Institute of Arts invites visitors to experience an exhibition that explores how science and technology is used to learn about art, focused on one of the DIA’s most iconic European paintings. “Bruegel’s The Wedding Dance Revealed” is open from December 14, 2019–August 30, 2020. The year 2019 marks the 450th anniversary of artist Pieter Bruegel the Elder’s death, and to commemorate it, the DIA’s Conservation department and the European Art department collaborated to trace the life of the painting from its creation in 1566 to the present, including the story behind the DIA’s exciting acquisition of the work in 1930. This exhibition is free with museum admission, which is always free for residents of Macomb, Oakland and Wayne counties. The DIA was the second museum in the U.S. to acquire a painting by Bruegel, and it soon became one of the museum’s most prized and beloved works. This exhibition features three other works from the DIA’s collection, as well as conservation images (x-ray and infrared), archival materials, pigments and a variety of tools inspired by Bruegel’s complex quest to source and create the colors used in the painting. The exhibition is located in Special Exhibitions Central, adjacent to the Detroit Industry murals.
    [Show full text]
  • Museums and the Art Trade: Dangerous Liaisons?
    11.4.2016 Museums and the art trade: dangerous liaisons? Art market features ART MARKET FEATURES Museums and the art trade: dangerous liaisons? The relationship between public institutions and private dealers has historically taken many forms, and is anything but simple by BEN LUKE http://theartnewspaper.com/market/art-market-features/museums-and-the-art-trade-dangerous-liaisons/ 1/7 11.4.2016 Museums and the art trade: dangerous liaisons? e foggy world of art dealers’ historical relationships with museums is coming into sharper relief. When the National Gallery in London acquired the archive of the dealers omas Agnew and Sons in 2014, it marked a growing interest in exploring this history, following the Los Angeles-based Getty Research Institute’s acquisition of the Knoedler Gallery’s archive in 2012 and the Colnaghi archive’s installation at Waddesdon Manor. e National Gallery’s conference on 1 and 2 April, Negotiating Art: Dealers and Museums 1855- 2015, will explore this relationship through the latest research, taking a broad historical sweep, fr om mid-19th-century London to fin-de-siècle Paris and 1930s Detroit. It is an opportunity, says Alan Crookham, Research Centre manager at the National Gallery, to look at a complicated relationship. “How does it manifest itself in the exchange of expertise, or helping develop collections… And are people reluctant to talk about that because of the public nature of museums?” Michael Tollemache, a London dealer who will speak at the event, says he aims to show “the reality that primary research is not the exclusive preserve of curators and academics—art market practitioners do it too”.
    [Show full text]
  • Catherine B. Scallen: Rembrandt, Reputation, and the Practice of Connoisseurship, Amsterdam
    Catherine B. Scallen: Rembrandt, Reputation, and the Practice of Connoisseurship, Amsterdam: Amsterdam University Press 2004, 416 S., 61 Abb., ISBN 90-5356-625-2, EUR 47,50 Rezensiert von: Amy Golahny Lycoming College, USA This well-researched and valuable study examines Rembrandt painting scholarship from 1870 to 1935, with focus on the four experts who defined the artist's œuvre during those years: Wilhelm von Bode (1845- 1929) and his three protegés, Abraham Bredius (1855-1946), Cornelis Hofstede de Groot (1863-1930), and Wilhelm Valentiner (1880-1958). Among their museum positions were directorships respectively of the Berlin Museums, Rijksmuseum and Mauritshuis, Rijksprentenkabinet, and Detroit Institute of Art. Before they began their individual and sometimes collaborative efforts to define Rembrandt's painted œuvre, the artist's paintings numbered between 250-350, an estimate that is generally accepted today. These four scholars enlarged the number of paintings to about 700; the majority of these are now regarded as not by Rembrandt. They attempted to establish scientific criteria for authenticating Rembrandt paintings, even though over time their own standards became inconsistent and lax. These four had wide-ranging interests and responsibilities. Hofstede de Groot and Bredius accomplished much still- valuable archival research, though supplemented by the work of S.A.C. Dudok van Heel, Walter Strauss, and others. Valentiner wrote the first comprehensive catalogue of Rembrandt's drawings, and presented much interpretive analysis. [1] His early collected essays, published in German and English, show a direction that is markedly different from that of Bode and Bredius, in his effort to integrate the production of art with its culture.
    [Show full text]
  • Program: America and the Art of Flanders
    CENTER FOR THE HISTORY OF COLLECTING SYMPOSIUM America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles friday & saturday, may 13 & 14, 2016 TO PURCHASE TICKETS frick.org/research/center Both days $50 (Members $35) Single day $30 (Members $25) friday, may 13 3:15 registration 3:30 welcome and opening remarks Stephen Bury, Andrew W. Mellon Chief Librarian, Frick Art Reference Library Esmée Quodbach, Assistant Director, Center for the History of Collecting, Frick Art Reference Library 3:45 keynote address Pleasure and Prestige: The Complex History of Collecting Flemish Art in America Arthur K. Wheelock, Jr., Curator, Northern Baroque Painting, National Gallery of Art, Washington, D.C. 4:30 Before Modern Connoisseurship: Robert Gilmor, Jr.’s Quest for Flemish Paintings in the Early Republic Lance Humphries, Executive Director, Mount Vernon Place Conservancy, Baltimore 5:00 coffee break 5:20 The Taste for Flemish Art in Early Nineteenth-Century New York Margaret Laster, Associate Curator of American Art, New-York Historical Society 5:50 The American Van Dyck Adam Eaker, Guest Curator, Van Dyck: The Anatomy of Portraiture, The Frick Collection, and Assistant Curator of European Paintings, The Metropolitan Museum of Art, New York 6:20 questions from the audience 6:40 Van Dyck: The Anatomy of Portraiture Exhibition open for viewing saturday, may 14 10:00 registration 10:15 welcome Inge Reist, Director, Center for the History of Collecting, Frick Art Reference Library 10:20 Building a Flemish Collection at The Metropolitan Museum of Art Adam Eaker, Guest Curator, Van Dyck: The Anatomy of Portraiture, The Frick Collection, and Assistant Curator of European Paintings, The Metropolitan Museum of Art, New York 10:50 “Never a dull picture”: John G.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
    THE FORGER’S SPELL A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieths Century EDWARD DOLNICK For Lynn It is in the ability to deceive oneself that the greatest talent is shown. —Anatole France We have here a—I am inclined to say the—masterpiece of Johannes Vermeer. —Abraham Bredius CONTENTS Epigraph iii Preface ix Part One OCCUPIED HOLLAND 1 A Knock on the Door 3 2 Looted Art 6 3 The Outbreak of War 9 4 Quasimodo 14 5 The End of Forgery? 18 6 Forgery 101 22 7 Occupied Holland 26 8 The War Against the Jews 30 9 The Forger’s Challenge 33 10 Bargaining with Vultures 40 11 Van Meegeren’s Tears 44 Part Two HERMANN GOERING AND JOHANNES VERMEER 12 Hermann Goering 51 13 Adolf Hitler 55 vi con t e n t s 14 Chasing Vermeer 57 15 Goering’s Art Collection 62 16 Insights from a Forger 66 17 The Amiable Psychopath 77 18 Goering’s Prize 82 19 Vermeer 85 20 Johannes Vermeer, Superstar 88 21 A Ghost’s Fingerprints 93 Part Three THE SELLING OF CHRIST AT EMM AUS 22 Two Forged Vermeers 105 23 The Expert’s Eye 109 24 A Forger’s Lessons 115 25 Bredius 121 26 “Without Any Doubt!” 127 27 The Uncanny Valley 132 28 Betting the Farm 137 29 Lady and Gentleman at the Harpsichord 139 30 Dirk Hannema 145 31 The Choice 150 32 The Caravaggio Connection 163 33 In the Forger’s Studio 167 34 Christ at Emmaus 170 35 Underground Tremors 173 con t e n t s vii Photographic Insert 36 The Summer of 1937 179 37 The Lamb at the Bank 186 38 “Every Inch a Vermeer” 192 39 Two Weeks and Counting 198 40 Too Late! 201 41 The Last Hurdle 203 42 The Unveiling 207
    [Show full text]
  • BOOKS ABOUT ARTISTS Catalogue 72 – January 2013
    BOOKS ABOUT ARTISTS Catalogue 72 – January 2013 1. (Aaltonen, Waino). WAINO AALTONEN by Onni Okkonen. Finland, 1945. 4to., boards, DJ, 31pp. text, 96 illustrations of sculpture in photogravure. Text in Swedish and Finnish. VG/VG $12.50 2. (Adam, Robert). ROBERT ADAM & HIS BROTHERS - Their Lives, Work & Influence by John Swarbrick. Scribners, NY, 1915. 4to., 316pp., t.e.g., illustrated. An important reference on one the leading British architect/designers of the 18th Century. A near fine copy. $125.00 3. (Albers, Josef). THE PRINTS OF JOSEF ALBERS - A CATALOGUE RAISONNE1915-1976 by Brenda Danilowitz. Hudson Hills Press, NY, 2001. 4to., cloth, DJ, 215pp. illustrated. Fine in Fine DJ. $75.00 4. (Albright, Ivan). IVAN ALBRIGHT by Michael Croydon. Abbeville, NY, 1978. Folio, cloth, DJ, 308pp., 170 illustrations, 83 in color. F/F $100.00 5. Ali. BEYOND THE BIG TOP. Godine/Pucker Safrai, Boston, 1988. Obl. 4to., cloth, DJ, text and 97 works illustrated, mostly in color. Fine/Fine. $10.00 6. (Allemand, Louis-Hector). LOUIS-HECTOR ALLEMAND - PEINTRE GRAVEUR LYONNAIS 1809-1886 by Paul Proute et al. Paris, 1977. 4to., wraps, 82 prints pictured and described. Fine. $25.00 7. (Allori et al, Allessandro). FROM STUDIO TO STUDIOLO - FLORENTINE DRAFTSMANSHIP UNDER THE FIRST MEDICI GRAND DUKES by Larry J. Feinberg. Oberlin, 1991. 4to., wraps, 211pp, 60 items catalogued and illustrated. Fine. $17.50 8. (Allston, Washington). "A MAN OF GENIUS" - THE ART OF WASHINGTON ALLSTON by Gerdts and Stebbins. MFA< boston, 1979. 4to., cloth, DJ, 256pp., 24 color plates, 162 b/w illustrations. Fine, DJ has white spots on back panel.
    [Show full text]
  • A Hidden Collection, Helen Balfour Morrison
    A HIDDEN COLLECTION HELEN BALFOUR MORRISON: Masterful Modern 401 LEE ROAD NORTHBROOK, IL 60062 P 847 291 9161 F 847 291 1867 HELEN BALFOUR MORRISON Photographer Helen Balfour Morrison (1901-1984) started as a commercial photographer in Evanston, Illinois, but took up her camera as a serious artist in the 1930s. Rockwell Kent sat for her and introduced her to Bill Kittredge at the Lakeside Press, who suggested she do a book on Great Americans. In the 1930s she began seeking out notable personalities, most of whom she approached and asked to photograph, often doing several sittings in a day. She also photographed people in all walks of life – individuals, families, and children. In the 1940s, the work continued from her new home in Northbrook. In the 1950s she set this work aside and primarily photographed the modern dancer, Sybil Shearer, with whom she had developed a collaborative artistic partnership. The Morrison-Shearer Foundation in Northbrook, Illinois, now holds these collections. The unusual nature of Morrison’s portraits became evident early in her career. J.B. Neumann, of the New Art Circle Gallery in New York, said in 1946, “Mrs. Morrison photographs the soul.” That same year David Daiche, Scottish literary historian then at the University of Chicago, put it this way: Helen Balfour Morrison, Self Portrait Anyone who has seen Helen Morrison at work will appreciate the amount of effort and energy she devotes to the task of getting her subjects to symbolize themselves in a manner which the camera can capture. She does this without arousing any suspicion in the person being photographed that a deliberate “drawing out” is taking place.
    [Show full text]
  • Study of an Old Man Probably Late 17Th Century Oil on Panel Overall: 28 X 21.5 Cm (11 X 8 7/16 In.) Widener Collection 1942.9.63
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Follower of Rembrandt van Rijn Anonymous Artist Rembrandt van Rijn Dutch, 1606 - 1669 Study of an Old Man probably late 17th century oil on panel overall: 28 x 21.5 cm (11 x 8 7/16 in.) Widener Collection 1942.9.63 ENTRY This study of an old bearded man with a sad, forlorn expression was acquired as a Rembrandt by Peter A. B. Widener from the London art market in 1905. When Wilhelm Valentiner cataloged Widener’s paintings in 1913, he dated it about 1645 and emphasized the painting’s “broad, powerful brushwork and deep thoughtful expression which characterize the artist’s later style.” [1] Ensuing assessments, however, have been less enthusiastic. In most subsequent catalogs of Rembrandt’s paintings the picture has been doubted, rejected, or omitted entirely. Martin questioned the attribution as early as 1921, and, though Bredius included the picture in his 1935 catalog, he expressed his doubts in a note: “The picture is known to me only from a photograph, and I am not entirely convinced of its authenticity.” [2] Bauch subsequently rejected it, as did Gerson. [3] Rosenberg is the only modern Rembrandt scholar to accept it as authentic. [4] The National Gallery of Art changed its attribution to “Style of Rembrandt” in 1984. This painting is one of a large number of rapidly executed oil sketches that Valentiner introduced into Rembrandt’s oeuvre in the early years of the twentieth Study of an Old Man 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century century.
    [Show full text]
  • University of Birmingham Near Vermeer: Edmund C
    University of Birmingham Near Vermeer: Edmund C. Tarbell’s and John Sloan’s Dutch Pictures Fagg, John DOI: 10.3366/mod.2016.0127 License: None: All rights reserved Document Version Early version, also known as pre-print Citation for published version (Harvard): Fagg, J 2016, 'Near Vermeer: Edmund C. Tarbell’s and John Sloan’s Dutch Pictures', Modernist Cultures, vol. 11, no. 1, pp. 86-117. https://doi.org/10.3366/mod.2016.0127 Link to publication on Research at Birmingham portal Publisher Rights Statement: The final Version of Record was published as detailed above by Edinburgh University Press and is available at: http://dx.doi.org/10.3366/mod.2016.0127 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • Saint Paul and a Group of Worshippers
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Bernardo Daddi active by 1320, died probably 1348 Saint Paul and a Group of Worshippers 1333 tempera on panel painted surface: 224.8 × 77 cm (88 1/2 × 30 5/16 in.) overall: 233.53 × 88.8 × 5.3 cm (91 15/16 × 34 15/16 × 2 1/16 in.) Inscription: above the saint's halo: S[ANCTUS]; above the saint's shoulders: PAU LUS; on the lower frame below the worshippers: [ANNO DOMI]NI.MCCCXXXIII M...II.ESPLETUM FUIT H[O]C OPUS (In the year of the Lord 1333... this work was finished) [1] Andrew W. Mellon Collection 1937.1.3 ENTRY The panel, with the frontal figure of the standing saint, who is not accompanied to the sides by a series of superimposed narrative scenes of his legend as in so- called biographical icons, belongs to a type of image that began to appear in Florence and in other cities in Italy in the thirteenth century and remained widespread throughout the following century: narrow and elongated in format, these paintings were probably intended to be hung against a pillar in a church. [1] Paintings of this kind, however, were more frequently painted directly onto the pillar or onto the wall of the church with the more economical technique of fresco. [2] Panels with single figures of saints were realized either with a votive intention, as for instance the one by Daddi himself representing Saint Catherine of Alexandria and a kneeling donor, now in the Museo dell’Opera del Duomo in Florence, [3] or as an expression of the cult of a confraternity or a religious lay company that met to pray and sing before the image at particular times.
    [Show full text]