November 2010 Newsletter
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Press Release
Press Release The Night Sky in the Age of Vermeer: The Astronomer in Context August 8, 2009 through January 10, 2010 Gallery 344 MINNEAPOLIS, JULY 27, 2009 To coincide with the Minneapolis Institute of Arts’ (MIA) exhibition “The Louvre and the Masterpiece” this fall, the museum is mounting a related exhibition that focuses on the Louvre show’s painting, The Astronomer (1668), by Johannes Vermeer (1632–1675). “The Night Sky in the Age of Vermeer: The Astronomer in Context,” on view August 8, 2009, through January 10, 2010, will bring visitors into the scientific and cultural world of 17th-century astronomy through an examination of the prints, books, scientific instruments, and other objects Vermeer depicted in his intriguing and beautiful masterpiece. It is fitting that the museum is presenting an exhibition on this topic, as 2009 is the International Year of Astronomy (IYA), designated by the United Nations, UNESCO, and the International Astronomical Union, to help the citizens of the world rediscover and reflect on Johannes Vermeer, Dutch, 1632–75, The Astronomer, 1668, oil on canvas, Musée du Louvre, the 400 years of changing perspectives Department of Paintings, RF 1983-28, Photo: Erich Lessing/Art Resource, NY about the universe since Galileo first Image files of these artworks and others featured in the exhibition are available. used the telescope to study the skies. Visit the MIA Press Room to log in for access. “The Night Sky” will be presented in one gallery, creating an intimate environment filled with objects similar to those shown in Vermeer’s painting. Drawing mainly on the MIA’s strong collection of large, hand-colored prints, the exhibition presents a range of interpretations of the cosmos. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Invasions, Insurgency and Interventions: Sweden’s Wars in Poland, Prussia and Denmark 1654 - 1658. A Dissertation Presented by Christopher Adam Gennari to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2010 Copyright by Christopher Adam Gennari 2010 Stony Brook University The Graduate School Christopher Adam Gennari We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Ian Roxborough – Dissertation Advisor, Professor, Department of Sociology. Michael Barnhart - Chairperson of Defense, Distinguished Teaching Professor, Department of History. Gary Marker, Professor, Department of History. Alix Cooper, Associate Professor, Department of History. Daniel Levy, Department of Sociology, SUNY Stony Brook. This dissertation is accepted by the Graduate School """"""""" """"""""""Lawrence Martin "" """""""Dean of the Graduate School ii Abstract of the Dissertation Invasions, Insurgency and Intervention: Sweden’s Wars in Poland, Prussia and Denmark. by Christopher Adam Gennari Doctor of Philosophy in History Stony Brook University 2010 "In 1655 Sweden was the premier military power in northern Europe. When Sweden invaded Poland, in June 1655, it went to war with an army which reflected not only the state’s military and cultural strengths but also its fiscal weaknesses. During 1655 the Swedes won great successes in Poland and captured most of the country. But a series of military decisions transformed the Swedish army from a concentrated, combined-arms force into a mobile but widely dispersed force. -
Art from the Ancient Mediterranean and Europe Before 1850 Gallery 15
Art from the Ancient Mediterranean and Europe before 1850 Gallery 15 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 a.m. - 5 p.m. Sun 1 - 5 p.m. Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve, Christmas Day, & New Year’s Day. 1 Domenichino Italian, 1581 – 1641 Landscape with Fishermen, Hunters, and Washerwomen, c. 1604 oil on canvas Ackland Fund, 66.18.1 About the Art • Italian art criticism of this period describes the concept of “variety,” in which paintings include multiple kinds of everything. Here we see people of all ages, nude and clothed, performing varied activities in numerous poses, all in a setting that includes different bodies of water, types of architecture, land forms, and animals. • Wealthy Roman patrons liked landscapes like this one, combining natural and human-made elements in an orderly structure. Rather than emphasizing the vast distance between foreground and horizon with a sweeping view, Domenichino placed boundaries between the foreground (the shoreline), middle ground (architecture), and distance. Viewers can then experience the scene’s depth in a more measured way. • For many years, scholars thought this was a copy of a painting by Domenichino, but recently it has been argued that it is an original. The argument is based on careful comparison of many of the picture’s stylistic characteristics, and on the presence of so many figures in complex poses. At this point in Domenichino’s career he wanted more commissions for narrative scenes and knew he needed to demonstrate his skill in depicting human action. -
Black Tronies in Seventeenth-Century Flemish Art and the African Presence
tronies BlackBernadette van Haute* in seventeenth-century Flemish art and the African presence * Bernadette van Haute is Associate the Maghreb cannot have been very numerous Professor in the Department of Art History, in Antwerp at that time, and it may be that Visual Arts and Musicology at the University all three masters [Rubens, Van Dyck and of South Africa. Jordaens] used the same model’. More recently Kolfin (2008:78) made a similar statement: Abstract Having a genuine black model at one’s disposal must have been a great event In this article I examine the production of artistically speaking. ... at least two other tronies or head studies of people of African painters from Rubens’ circle made oil origin made by the Flemish artists Peter Paul sketches of this man which seem to have Rubens, Anthony van Dyck, Jan I Brueghel, been inspired by Rubens’ study heads: Jacob Jordaens and Gaspar de Crayer in an Jacob Jordaens ... around 1620 and attempt to uncover their use of Africans1 as Gaspar de Crayer ... in the mid-1620s. models. In order to contextualise the research, Although Jordaens’ studies are definitely of the actual presence of Africans in Flanders the same man, this is harder to ascertain in the case of De Crayer’s work. is investigated. Although no documentation exists to calculate even an approximate Adding to this point of view, Massing (2011:1) number of Africans living in Flanders at that states that Rubens painted the same person time, travel accounts of foreigners visiting four times in the Brussels painting, ‘suggesting the commercial city of Antwerp testify that people of African origin were still rare in to its cosmopolitan character. -
Or Later, but Before 1650] 687X868mm. Copper Engraving On
60 Willem Janszoon BLAEU (1571-1638). Pascaarte van alle de Zécuften van EUROPA. Nieulycx befchreven door Willem Ianfs. Blaw. Men vintfe te coop tot Amsterdam, Op't Water inde vergulde Sonnewÿser. [Amsterdam, 1621 or later, but before 1650] 687x868mm. Copper engraving on parchment, coloured by a contemporary hand. Cropped, as usual, on the neat line, to the right cut about 5mm into the printed area. The imprint is on places somewhat weaker and /or ink has been faded out. One small hole (1,7x1,4cm.) in lower part, inland of Russia. As often, the parchment is wavy, with light water staining, usual staining and surface dust. First state of two. The title and imprint appear in a cartouche, crowned by the printer's mark of Willem Jansz Blaeu [INDEFESSVS AGENDO], at the center of the lower border. Scale cartouches appear in four corners of the chart, and richly decorated coats of arms have been engraved in the interior. The chart is oriented to the west. It shows the seacoasts of Europe from Novaya Zemlya and the Gulf of Sydra in the east, and the Azores and the west coast of Greenland in the west. In the north the chart extends to the northern coast of Spitsbergen, and in the south to the Canary Islands. The eastern part of the Mediterranean id included in the North African interior. The chart is printed on parchment and coloured by a contemporary hand. The colours red and green and blue still present, other colours faded. An intriguing line in green colour, 34 cm long and about 3mm bold is running offshore the Norwegian coast all the way south of Greenland, and closely following Tara Polar Arctic Circle ! Blaeu's chart greatly influenced other Amsterdam publisher's. -
Colloidal Goldgold
ColloidalColloidal GoldGold Markus Niederberger Email: [email protected] 22.11.2006 OutlineOutline 1) Definition 2) History 3) Synthesis 4) Chemical and Physical Properties 5) Applications 6) References DefinitionDefinition Colloidal gold: Stable suspension of sub-micrometer- sized particles of gold in a liquid ShortShort HistoryHistory ofof GoldGold 4000 B.C.: A culture in Eastern Europe begins to use gold to fashion decorative objects 2500 B.C.: Gold jewelry was found in the Tomb of Djer, king of the First Egyptian Dynasty 1200 B.C.: The Egyptians master the art of beating gold into leaf as well as alloying it with other metals for hardness and color variations 1091 B.C.: Little squares of gold are used in China as a form of money 300 B.C.: Greeks and Jews of ancient Alexandria start to practice Alchemy, the quest of turning base metals into gold 200 B.C.: The Romans gain access to the gold mining region of Spain 50 B.C.: The Romans begin issuing a gold coin called the Aureus 1284 A.D.: Venice introduces the gold Ducat, which soon becomes the most popular coin in the world Source: National Mining Association, Washington HistoryHistory ofof GoldGold ColloidsColloids andand theirtheir ApplicationApplication History: Gold in Medicine Humankind has linked the lustre of gold with the warm, life-giving light of the sun. In cultures, which deified the sun, gold represented its earthly form. The earliest records of the use of gold for medicinal and healing purposes come from Alexandria, Egypt. Over 5000 years ago the Egyptians ingested gold for mental and bodily purification. -
HNA April 11 Cover-Final.Indd
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. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) 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 Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Who Was Protagoras? • Born in Abdêra, an Ionian Pólis in Thrace
Recovering the wisdom of Protagoras from a reinterpretation of the Prometheia trilogy Prometheus (c.1933) by Paul Manship (1885-1966) By: Marty Sulek, Ph.D. Indiana University Lilly Family School of Philanthropy For: Workshop In Multidisciplinary Philanthropic Studies February 10, 2015 Composed for inclusion in a Festschrift in honour of Dr. Laurence Lampert, a Canadian philosopher and leading scholar in the field of Nietzsche studies, and a professor emeritus of Philosophy at IUPUI. Adult Content Warning • Nudity • Sex • Violence • And other inappropriate Prometheus Chained by Vulcan (1623) themes… by Dirck van Baburen (1595-1624) Nietzsche on Protagoras & the Sophists “The Greek culture of the Sophists had developed out of all the Greek instincts; it belongs to the culture of the Periclean age as necessarily as Plato does not: it has its predecessors in Heraclitus, in Democritus, in the scientific types of the old philosophy; it finds expression in, e.g., the high culture of Thucydides. And – it has ultimately shown itself to be right: every advance in epistemological and moral knowledge has reinstated the Sophists – Our contemporary way of thinking is to a great extent Heraclitean, Democritean, and Protagorean: it suffices to say it is Protagorean, because Protagoras represented a synthesis of Heraclitus and Democritus.” Nietzsche, The Will to Power, 2.428 Reappraisals of the authorship & dating of the Prometheia trilogy • Traditionally thought to have been composed by Aeschylus (c.525-c.456 BCE). • More recent scholarship has demonstrated the play to have been written by a later, lesser author sometime in the 430s. • This new dating raises many questions as to what contemporary events the trilogy may be referring. -
Hans Von Aachen in Context Proceedings of the International Conference Prague 22–25 September 2010
3 Hans von Aachen in Context Proceedings of the International Conference Prague 22–25 September 2010 edited by Lubomír Konečný and Štěpán Vácha with Beket Bukovinská assisted by Markéta Ježková and Eliška Zlatohlávková Prague 2012 ARTEFACTUM Institute of Art History, Academy of Sciences of the Czech Republic 4 This volume presents the results of the international conference “Hans von Aachen and New Research in the Transfer of Artistic Ideas into Central Europe,” organized by the Institute of Art History, Academy of Sciences of the Czech Republic, v. v. i. (in particular by its research center Studia Rudolphina), in Prague on September 22–25, 2010. The conference took place at the conclusion of the exhibition Hans von Aachen (1552–1615): A Court Artist in Europe, which, with the support of the Culture Programme 2007–2013 granted by the Education, Audiovisual and Culture Executive Agency (European Commission), was organized by the Suermondt-Ludwig-Museum, Aachen (11 March – 13 June 2010), Správa Pražského hradu, Prague (1 July – 3 October 2010), and by the Kunsthistorisches Museum, Vienna (19 October 2010 – 9 January 2011). The publication of this collection of essays was financed by the Academy of Sciences of the Czech Republic and by the Deutsch-Tschechischer Zukunftsfonds. Readers: Prof. PhDr. Lubomír Slavíček, CSc. OR Dr. Friedrich Polleroß Acknowledgments: Joan Boychuk, Polana Bregantová, Tomáš Coufal, Thomas Fusenig, Johana Gallup, Edmund Hufnagel, Ivana Horacek, Edgar Lein, Magda Machková, Zdeněk Matyásko, Anna Ohlidal, Jana Pánková, Ivo Purš, Peter Stephens, Anna Trojanová, Vít Vlnas, Lenka Zapletalová, Peter Zieschang. Special thanks are due to Dr. Sabine Haag, Director of the Kusthistorisches Museum in Vienna. -
Empire of Prints. the Imperial City of Augsburg and the Printed Image In
OPUS Augsburg 2016 Peter Stoll Empire of Prints The Imperial City of Augsburg and the Printed Image in the 17th and 18th Centuries1 Detail from the frontispiece to David Langenmantel’s Historie des Regiments in des Heil. Röm. Reichs Stadt Augspurg (Augsburg 1734); engraving by Jakob Andreas Friedrich: Augsburg city hall; on top of the cartouche the pine cone from the city’s coat of arms; to the right the eagle signifying the Holy Roman Empire. 1 This text, in a Spanish translation, first served as one of the introductory essays in an exhibition catalogue dealing with Augsburg prints as modellos for baroque paintings in Quito, Ecuador (‘El imperio del grabado: La ciudad imperial de Augsburgo y la imagen impresa en los siglos XVII y XVIII’, in: Almerindo E. Ojeda, Alfonso Ortiz Crespo [ed.]: De Augsburgo a Quito: fuentes grabadas del arte jesuita quiteño del siglo XVIII, Quito 2015, pp. 17-66). For the present purpose, all passages of the text which only made sense in the context of the exhibition have been removed. Nonetheless, the 18th century bias of the text as well as the selection of artists which come under closer scrutiny still reflect the origins of the essay. As it was meant to address not only art historians, but also a general interest readership, it contains much basic information about print- making and the cultural history of Augsburg. OPUS Augsburg 2016 / Stoll, Empire of Prints 2 _______________________________________________________________________________________ A very particular type of factory When in 2001 Johan Roger -
Unequal Lovers: a Study of Unequal Couples in Northern Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of 1978 Unequal Lovers: A Study of Unequal Couples in Northern Art Alison G. Stewart University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artfacpub Part of the History of Art, Architecture, and Archaeology Commons Stewart, Alison G., "Unequal Lovers: A Study of Unequal Couples in Northern Art" (1978). Faculty Publications and Creative Activity, School of Art, Art History and Design. 19. https://digitalcommons.unl.edu/artfacpub/19 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Unequal Lovers Unequal Lovers A Study of Unequal Couples in Northern Art A1ison G. Stewart ABARIS BOOKS- NEW YORK Copyright 1977 by Walter L. Strauss International Standard Book Number 0-913870-44-7 Library of Congress Card Number 77-086221 First published 1978 by Abaris Books, Inc. 24 West 40th Street, New York, New York 10018 Printed in the United States of America This book is sold subject to the condition that no portion shall be reproduced in any form or by any means, and that it shall not, by way of trade, be lent, resold, hired out, or otherwise disposed of without the publisher's consent, in any form of binding or cover other than that in which it is published. -
The Dutch School of Painting
Cornell University Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924073798336 CORNELL UNIVERSITY LIBRARY 924 073 798 336 THE FINE-ART LIBRARY. EDITED BY JOHN C. L. SPARKES, Principal of the National Art Training School, South Kensington - Museum, THE Dutch School Painting. ye rl ENRY HA YARD. TRANSLATED HV G. POWELL. CASSELL & COMPANY, Limited: LONDON, PARIS, NEW YORK ,C- MELBOURNE. 1885. CONTENTS. -•o*— ClIAr. I'AGE I. Dutch Painting : Its Origin and Character . i II. The First Period i8 III. The Period of Transition 41 IV. The Grand Ki'ocii 61 V. Historical and Portrait Painters ... 68 VI. Painters of Genre, Interiors, Conversations, Societies, and Popular and Rustic Scenes . 117 VI [. Landscape Painters 190 VIII. Marine Painters 249 IX. Painters of Still Life 259 X. The Decline ... 274 The Dutch School of Painting. CHAPTER I. DUTCH PAINTING : ITS ORIGIN AND CHARACTER. The artistic energy of a great nation is not a mere accident, of which we can neither determine the cause nor foresee the result. It is, on the contrary, the resultant of the genius and character of the people ; the reflection of the social conditions under which it was called into being ; and the product of the civilisation to which it owes its birth. All the force and activity of a race appear to be concentrated in its Art ; enterprise aids its growth ; appreciation ensures its development ; and as Art is always grandest when national prosperity is at its height, so it is pre-eminently by its Art that we can estimate the capabilities of a people.