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MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected]
MASTER DRAWINGS Index to Volumes 1–55 1963–2017 Compiled by Maria Oldal [email protected] The subject of articles or notes is printed in CAPITAL letters; book and exhibition catalogue titles are given in italics; volume numbers are in Roman numerals and in bold face. Included in individual artist entries are authentic works, studio works, copies, attributions, etc., arranged in sequential order within the citations for each volume. When an author has written reviews, that designation appears at the end of the review citations. Names of collectors are in italics. Abbreviated names of Italian churches are alphabetized as if fully spelled out: "Rome, S. <San> Pietro in Montorio" precedes "S. <Santa> Maria del Popolo." Concordance of Master Drawings volumes and year of publication: I 1963 XII 1974 XXIII–XXIV 1985–86 XXXV 1997 XLVI 2008 II 1964 XIII 1975 XXV 1987 XXXVI 1998 XLVII 2009 III 1965 XIV 1976 XXVI 1988 XXXVII 1999 XLVIII 2010 IV 1966 XV 1977 XXVII 1989 XXXVIII 2000 XLIX 2011 V 1967 XVI 1978 XXVIII 1990 XXXIX 2001 L 2012 VI 1968 XVII 1979 XXIX 1991 XL 2002 LI 2013 VII 1969 XVIII 1980 XXX 1992 XLI 2003 LII 2014 VIII 1970 XIX 1981 XXXI 1993 XLII 2004 LIII 2015 IX 1971 XX 1982 XXXII 1994 XLIII 2005 LIV 2016 X 1972 XXI 1983 XXXIII 1995 XLIV 2006 LV 2017 XI 1973 XXII 1984 XXXIV 1996 XLV 2007 À l’ombre des frondaisons d’Arcueil: Dessiner un jardin du XVIIe siècle, exh. cat. by Xavier Salmon et al. Review. LIV: 397–404 A. S. -
Rome in the 18R.Li Century
fl urn Rome in the 18r.li Century •ii" On the cover: Giovanni Battista Piranesi Detail of the Fontana di Trevi WS'? 0FP/C6- SLIDE UBRARY Artists in Rome in the 18th Century: Drawings and Prints The Metropolitan Museum of Art February 28 - May 7, 1978 Copyright © 1978 by The Metropolitan Museum of Art • This exhibition has been made possible through <^ a grant from the Esther Annenberg Simon Trust V V The drawings, prints, and oil sketches brought together for this exhibition offer eloquent testimony to the rich diversity of artistic activity in eighteenth-century Rome. They are the work of artists of many nationalities—Italian, French, English, Dutch, Flemish, and German—but all were executed in Rome in the course of the century. The city retained in the 1700's its position as a major artistic center, though outdistanced by Paris for first place. Rome continued to be the city to which artists came to learn, by studying and copying the ruins of Classical Antiquity and the great works of the Renaissance and Baroque periods. Papal and princely patronage continued to attract artists from all Europe, but commissions were no longer on the very grand scale of previous centuries. History painting remained a Roman specialty, occupying the highest rank in the hierarchy of painting. Preparatory drawings for major projects by Giuseppe Chiari, Pompeo Batoni, Benedetto Luti, and the Frenchman Pierre Subleyras document this side of Roman production. Sculpture flourished—witness drawings by Pietro Bracci and Camillo Rusconi for important tombs, and Luigi Vanvitelli's designs for the throne of St. -
Lowell Libson
LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD · 2014 New York: January 25 – February 1 Annual exhibition at Mitchell-Innes & Nash: British Art: Recent Acquisitions & Thomas Gainsborough: The Landscape of Refinement london: february 17 – february 28 Thomas Gainsborough: The Landscape of Refinement Maastricht: March 14 – 23 TEFAF: The European Fine Art Fair London: July 4 – July 11 Master Drawings & Sculpture Week London Art Week London: October 16 – october 19 Frieze Masters LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD CONTENTS 3 Clifford Street · Londonw1s 2lf William John Bankes 8 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 James Barry 12 Email: [email protected] Louis-Gabriel Blanchet 15 Website: www.lowell-libson.com The gallery is open by appointment, Monday to Friday Francis Cotes 20 The entrance is in Old Burlington Street Alexander Cozens 24 Lowell Libson John Robert Cozens 26 [email protected] Arthur Devis 34 Deborah Greenhalgh [email protected] John Flaxman 39 Jonny Yarker [email protected] Lucius Gahagan 46 Daniel Gardner 50 Hugh Douglas Hamilton 52 Victor-Marie Hugo 58 Sir Thomas Lawrence 60 Edward Lear 68 William Marlow 72 Samuel Palmer 76 Published by Lowell Libson Limited 2014 Sir Joshua Reynolds 78 Text and publication © Lowell Libson Limited All rights reserved Thomas Rowlandson 82 isbn 978 0 9563930 7 4 Cover: a sheet of 18th-century Italian Thomas Stothard 82 paste paper (collection: Lowell Libson) Frontispiece: Francis Cotes RA 1726–1770 Joseph Mallord William Turner 89 Detail from Mary Colebrooke, later Lady Aubrey, 1766 Benjamin West 102 Photography by Rodney Todd White & Son Ltd Designed and typeset in Dante by Dalrymple Joseph Wright of Derby 105 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Johan Zoffany 112 our annual catalogue relies entirely on the works we have in hand and it is this serendipity that gives each of these volumes an individual character. -
Not Exceed 7,500 Upwards and Should Shou~ Anginal Research
f Id ll ~ +t Rl 4~Al New Publication FURNITURE AT TEMPLE NEWSAM HOUSE AND LOTHERTON HALL, YORKSHIRE by Christopher Gilbert The defmitive catalogue of 662 items from the collections of Leeds City Art Galleries, 522 pages with 682 illustrations, 14 in colour, in two volumes. Published jointly by the National Art-Collections Fund and the Leeds Art Collections Fund, 1978. X48 the two volumes, including postage. Cheques or money orders payable to the NACF Leeds Furniture Catalogue; post to Percy Lund, Humphries 8t Co. Ltd., The Manningham Press, Drummond Road, Bradford BD8 8DH. SHELDON MEMORIAL TRUST ESSA Y PRIZE ,4 pnze of E50is offered for the best unpublished essay on history, literature or the arts in connectr'on uvth the City of York. The essay should not exceed 7,500 upwards and should shou~ anginal research. The Trust uill arrange publr'cation of the prize essay. Completed essays must be submitted by 3I March l979. ComPetitors should notify their intended toPicsin advance to the Secretary of the Trust, Mr. /. P. West-Taylor, The University of York, Heslington, York, YOI 5DD THF. LEEDS ART COLLECTIONS FUND Pres~dent The Rt. Hon. the Earl of Halifax; Vrce President The Rt. Hon. the Earl of Harewootl, t.t.,n.; Trustees C. S. Reddihough, George Black, r R t: s, W. T. Oliver, M rs.; Cornrnittee Mrs. S. Bidgood, S. H. Burton, Mrs. R. Copeland, Mrs. S. Gilchrist, J. M. McCloy, Councillor Dr. J. R. Sherwin, Dr. M. Wainman; Hon. Treasurer Martin Arnold, a a; Him. Secretary Robert Rowe; Hon. Membership Secretary W. -
Die Kaiserliche Gemäldegalerie in Wien Und Die Anfänge Des Öffentlichen Kunstmuseums
GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND II EUROPÄISChe MUSEUMSKULTUREN UM 1800 Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND 2 EUROPÄISCHE MUSEUMSKULTUREN UM 1800 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR IMPRESSUM Gudrun Swoboda (Hg.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums Band 1 Die kaiserliche Galerie im Wiener Belvedere (1776–1837) Band 2 Europäische Museumskulturen um 1800 Kunsthistorisches Museum Wien, Wien 2013 Redaktion Gudrun Swoboda, Kristine Patz, Nora Fischer Lektorat Karin Zeleny Art-Direktion Stefan Zeisler Graphische Gestaltung Johanna Kopp, Maria Theurl Covergestaltung Brigitte Simma Bildbearbeitung Tom Ritter, Michael Eder, Sanela Antic Hervorgegangen aus einem Projekt des Förderprogramms forMuse, gefördert vom Bundesministerium für Wissenschaft und Forschung Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 121-V21/PUB 122-V21 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Abbildungen auf der Eingangsseite Bernardo Bellotto, Wien, vom Belvedere aus gesehen. Öl auf Leinwand, um 1758/61. Wien, Kunsthistorisches Museum, Gemäldegalerie Inv.-Nr. 1669, Detail Druck und Bindung: Holzhausen Druck Gmbh, Wien Gedruckt auf chlor- und säurefreiem Papier Printed in Austria ISBN 978-3-205-79534-6 Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. © 2013 Kunsthistorisches Museum Wien – www.khm.at © 2013 by Böhlau Verlag Ges.m.b.H. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, 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 corner 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. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 fcg Order Number 1345754 The Salon Dord from the Hotel de Clermont Brewster, Edith Hutchinson, M.A. The American University, 1991 Copyright ©1991 by Brewster, Edith Hutchinson. -
Roma-Parigi. Accademie a Confronto
L’Accademia di San Luca, fondata a Roma alla fine del Cinquecento, era un sodalizio di artisti che riconoscevano nel disegno il principio fondatore dell’unità delle tre arti: la pittura, la scultura e l’architettura; la partecipazione era aperta agli artisti di ogni nazionalità. A Parigi la creazione delle accademie fu invece, fin dall’inizio, un’impresa promossa direttamente dallo Stato allo scopo di formare gli artisti che avrebbero lavorato nelle commesse pubbliche: nel 1648 venne fondata l’Académie Accademie a confronto Royale de Peinture et Sculpture e nel 1671 l’Académie Royale d’Architecture. A complemento delle nuove scuole di Parigi, venne aperta nel 1666 anche PARIGI una sede a Roma, dove gli artisti francesi avrebbero potuto completare - la loro formazione studiando l’antico e i grandi capolavori moderni. L’apertura di una sede romana di una istituzione francese intensificò ROMA i rapporti, già vivaci, tra le tre accademie e tra gli artisti. ROMA-PARIGI La mostra Roma-Parigi. Accademie a confronto. L’Accademia di San Luca Accademie a confronto e gli artisti francesi. XVII-XIX secolo, organizzata a Palazzo Carpegna in L’Accademia di San Luca e gli artisti francesi concomitanza con l’esposizione allestita a Villa Medici, 350 ans de création, les artistes de l’Académie de France à Rome de Louis XIV à nos jours, intende illustrare lo sviluppo di questi rapporti. A N LUC A S I LE D A N IO Z A N ISBN 978-88-97610-17-5 MIA DE A CC ACCADEMIA NAZIONALE DI SAN LUCA A ACCADEMIA NAZIONALE DI SAN LUCA ROMA-PARIGI Accademie a confronto ROMA-PARIGI -
Corrado Giaquinto's Critical Fortune
03-Stefano Pierguidi:Maquetación 1 26/08/16 13:13 Página 255 ARCHIVO ESPAÑOL DE ARTE, LXXXIX, 355 JULIO-SEPTIEMBRE 2016, pp. 255-268 ISSN: 0004-0428, eISSN: 1988-8511 doi: 10.3989/aearte.2016.17 CORRADO GIAQUINTO’S CRITICAL FORTUNE IN ROME AND THE REASONS FOR HIS DEPARTURE FOR MADRID STEFANO PIERGUIDI Sapienza Università di Roma [email protected] Around 1751, Cochin pointed out that the best painters then in Rome were Masucci, Mancini, Battoni and “le chevalier Corado”. Cochin’s statement would seem to be one of the most meaningful indications of the artist’s fame. Modern criticism, however, tends not to distinguish between the nature of Giaquinto’s and Masucci, Mancini and Batoni’s success: while the latter three artists had definitively established themselves as history painters in oil and could work for international patrons without leaving Rome, Giaquinto never succeeded in asserting himself in that capacity and in this medium. Indeed, in his letter Cochin mistook Corrado for the more famous and well-known knight Sebastiano Conca. Being summoned to Madrid was certainly a great achievement for Giaquinto, but leaving Rome was somehow a forced choice because in the 25 years he had spent there since 1727, the painter had never achieved the success to which he aspired. Key words: Corrado Giaquinto; Giambattista Tiepolo; Francesco De Mura; Francesco Algarotti; Baroque painting; painting in Rome. LA FORTUNA CRÍTICA DE CORRADO GIAQUINTO EN ROMA Y LOS MOTIVOS DE SU PARTIDA POR MADRID Alrededor de 1751 Cochin indicaba a los que eran considerados los mejores pintores de Roma en la época: Masucci, Mancini, Battoni y “le chevalier Corado”. -
ARTS Subleyras Au Musée Du Luxembourg Dans Une Saison
GEORGES CHARENSOL LES BEAUX-ARTS Subleyras au musée du Luxembourg Dans une saison artistique particulièrement faible, l'expo• sition de Pierre Subleyras fait figure de révélation. Si les historiens d'art citent à peine son nom, c'est d'abord parce qu'il ne correspond en aucune façon aux idées reçues sur la peinture du xvme siècle. Ce n'est ni un adepte des Fêtes galantes à la Watteau, un paysagiste à la Guardi ou à la Hubert Robert, ni un décorateur à la Tiepolo. Il n'a guère pratiqué que deux genres, le portrait et, surtout, un art religieux qui le situe fort loin des philosophes athées de ce siècle. Autre explication de ce dédain : il a vécu toute sa jeunesse en province et a fait ses études à Toulouse. S'il vient à Paris, c'est afin de remporter le prix de Rome qui lui permettra de partir pour l'Italie où il passera toute sa vie. Certes, la « patrie des arts » exerce alors une vive attraction sur les peintres français. Les meilleurs y font de fructueux séjours qui dépassent rarement quelques mois alors qu'au siècle précédent un Nicolas Poussin, un Claude Lorrain s'y établirent définitivement. En vérité, Subleyras est beaucoup plus près du xvn= que de son siècle. Il lui emprunte sa sobriété aussi bien que son goût des grandes compositions à la Carrache ou à la Caravage. Pour l'affiche qui signale l'exposition, l'on a eu raison de choisir la Courtisane amoureuse qui appartient à la série inspirée par les Contes de La Fontaine. -
Images of the Goddess of Justice
Images of the Goddess of Justice Justice holding her scales and sword is a familiar image. Remember that she is not blind, only wearing a blindfold. I use the version above on my homepage. But there are many diferent versions of the image of the Goddess of Justice that can be found on the internet, as listed in the links below. To avoid pop-up ads, you may wish to open the links using the right button on your mouse and clicking on 'open new window.' My favorites include the statues in Liberia and Khazakhstan, a relief sundial in France, the Borland graphic, the neon light image in Nevada, a painting of sleeping Justice (lost link), paintings by Klimt and Max, Baltimore's fsh and Beavercreek's Beaver, the Ortega brand scales, and the California seal tattoo. Statues and Sculptures of Justice Lady Justice held back by the Lady of Mercy by Glynn Acree, Samford University, Birmingham, Alabama Lady of Justice (pregnant?), Chambers County Courthouse, LaFayette, Alabama Justice, Judge Advocate General school, Maxwell-Gunter AFB, Alabama Head of Themis, U.S. District Court, Montgomery, Alabama Justicia, Placer County Courthouse, Auburn, California Justice, Los Angeles County Courthouse, California by Donal Hord 1956 Justice, Riverside County Courthouse, California Goddess of Justice (zinc), San Joaquin County Courthouse, California 1890 (">second image) Lady Justice (#30), Shasta County Courthouse, Redding, California Lady of Justice, Pitkin County Courthouse, Aspen, Colorado Justice by Francois Michel Louis Tonnetti 1913, State Library, Hartford,