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NGA | 2012 Annual Report
NA TIO NAL G AL LER Y O F A R T 2012 ANNUAL REPort 1 ART & EDUCATION Diana Bracco BOARD OF TRUSTEES COMMITTEE Vincent J. Buonanno (as of 30 September 2012) Victoria P. Sant W. Russell G. Byers Jr. Chairman Calvin Cafritz Earl A. Powell III Leo A. Daly III Frederick W. Beinecke Barney A. Ebsworth Mitchell P. Rales Gregory W. Fazakerley Sharon P. Rockefeller Doris Fisher John Wilmerding Juliet C. Folger Marina Kellen French FINANCE COMMITTEE Morton Funger Mitchell P. Rales Lenore Greenberg Chairman Frederic C. Hamilton Timothy F. Geithner Richard C. Hedreen Secretary of the Treasury Teresa Heinz Frederick W. Beinecke John Wilmerding Victoria P. Sant Helen Henderson Sharon P. Rockefeller Chairman President Benjamin R. Jacobs Victoria P. Sant Sheila C. Johnson John Wilmerding Betsy K. Karel Linda H. Kaufman AUDIT COMMITTEE Robert L. Kirk Frederick W. Beinecke Leonard A. Lauder Chairman LaSalle D. Leffall Jr. Timothy F. Geithner Secretary of the Treasury Edward J. Mathias Mitchell P. Rales Diane A. Nixon John G. Pappajohn Sharon P. Rockefeller Frederick W. Beinecke Mitchell P. Rales Victoria P. Sant Sally E. Pingree John Wilmerding Diana C. Prince Robert M. Rosenthal TRUSTEES EMERITI Roger W. Sant Robert F. Erburu Andrew M. Saul John C. Fontaine Thomas A. Saunders III Julian Ganz, Jr. Fern M. Schad Alexander M. Laughlin Albert H. Small David O. Maxwell Michelle Smith Ruth Carter Stevenson Benjamin F. Stapleton Luther M. Stovall Sharon P. Rockefeller John G. Roberts Jr. EXECUTIVE OFFICERS Ladislaus von Hoffmann Chief Justice of the Diana Walker United States Victoria P. Sant President Alice L. -
Quadreria (1750-1850)
A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE Q UADRERIA (1750-1850) SPERONE WESTWATER 2 A PICTURE GALLERY IN THE ITALIAN TRADITION OF THE QUADRERIA (1750-1850) 10 January - 23 February 2013 curated by Stefano Grandesso, Gian Enzo Sperone and Carlo Virgilio Essay by Joseph J. Rishel catalogue edited by Stefano Grandesso SPERONE WESTWATER in collaboration with GALLERIA CARLO VIRGILIO & CO. - ROME (cat. no. 15) This catalogue is published on the occasion of the exhibition A Picture Gallery in the Italian Tradition of the Quadreria* (1750-1850), presented at Sperone Westwater, New York, 10 January through 23 February, 2013. 257 Bowery, New York, NY 10002 *A quadreria is a specifically Italian denomination for a collection of pictures (quadri) up to and beyond the eighteenth century, with the pictures normally covering the entire wall space from floor to ceiling. Before the advent of the illuminist concept of the picture gallery (pinacoteca), which followed a classification based on genre and chronology suitable for museums or didactic purposes, the quadreria developed mainly according to personal taste, affinity and reference to the figurative tradition. Acknowledgements Leticia Azcue Brea, Liliana Barroero, Walter Biggs, Emilia Calbi, Giovanna Capitelli, Andrew Ciechanowiecki, Stefano Cracolici, Guecello di Porcia, Marta Galli, Eileen Jeng, Alexander Johnson, David Leiber, Nera Lerner, Todd Longstaffe-Gowan, Marena Marquet, Joe McDonnell, Roberta Olson, Ann Percy, Tania Pistone, Bianca Riccio, Mario Sartor, Angela Westwater Foreword Special thanks to Maryse Brand for editing the texts by Joseph J. Rishel English translation Luciano Chianese Photographic Credits Arte Fotografica, Roma Studio Primo Piano di Giulio Archinà Marino Ierman, Trieste The editor will be pleased to honor any outstanding royalties concerning the use of photographic images that it has so far not been possible to ascertain. -
Italian Art at the Utah Museum of Fine Arts (UMFA) Spans Several Centuries, from the Late 1300S to the 1900S
Ursula M. Brinkmann Pimentel ITALIAN ART AT THE UTAH MUSEUM OF FINE ARTS A GUIDE TO THE COLLECTION Contributors: Elizabeth A. Peterson Martha A. Seiner Madelyn D. Garrett 1 Copyright © Ursula M. Brinkmann Pimentel 2000 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112, USA. This publication is made possible, in part, by generous support from Friends of the Art Museum and the Salt Lake City Arts Council. Accredited by the 2 CONTENTS Page Foreword ………………………………………………………..………………………………………………..9 Acknowledgments………………………………………………………………..………………………………10 Catalogue………………………………………………………………………………………………………...11 Explanation of Cataloguing Practices ………………...…………………………………………………………12 Cat. 1 Unknown Italian, Madonna and Child with Angels……………………………………………………..14 2 Unknown Italian, possibly Tuscan, Parchment Leaf from the Proper of Saints, Feast of the Nativity of St. John the Baptist (24 June), Matins, Third Nocturn…………………..……..18 3 Unknown Italian, possibly Tuscan, Parchment Leaf from the Common of Saints, Common of Several Martyrs, Matins, Second-Third Nocturns………………………...………………..21 4 Fra Filippo di Tomaso Lippi, Madonna and Child………………………………………………………23 5 Unknown Italian, Saint Cecilia…………………………………………………………………………..27 6 School of Andrea Mantegna, Entombment with Three Birds……………………………………………31 7 Daniel Hopfer, Battle between Two Tritons, after Andrea Mantegna…………………………………...35 8 Polidoro di Bartolomeo, Crucifixion with Saints (Virgin Mary, Mary Magdalen, St. John the Apostle, St. Francis of Assisi, -
Iconografia Dantesca; the Pictorial Representations to Dante's Divine
For Reading Room Only . i'/ii This book is DUE on the last date stamped below SOUTHERN B UNIVERSITY OF CALIFORNIA, LIBRARY, LOS ANGELES. CALIF. r* ^ Iconografia Dantesca Limited Edition of 250 Numbered Copies No. 7 Iconog^rafiao Dantesca THE PICTORIAL REPRESENTATIONS DANTE'S DIVINE COMEDY Ludwig Volkmann . F. V I S E D AND AUGMENTED H V THE AUTHOR WITH A PREFACE CHARLES SAROLHA Ph D., D.LiTT. I-ectiticf in the Ficncli Language and Literature and Ronianci Philulogy in the University of Edinburgh xmiitb Seventeen ipiatce an6 ipour TlWooDcuts LONDON H. GREVEL & CO. 2,i, KING STREET, CO VENT GARDEN, W.C. 1899 64133 . ( »^, • .•• /' ; ;i(.i,iis; L\u(ji:i wniy PREFACE R. VOLKMANN has earned the gratitude of all lovers of Dante by the admirable work which it is our privi- lege to introduce to English readers a work as important from the enquiries it suggests as from the original research it contains—a work which combines the proverbial minuteness of the German scholar and the critical spirit of the genuine scientist with the fiery en- thusiasm of an admiring disciple. Dr. Volkmann is the first who has treated exhaustively Dante's relation to art, and / has traced and analysed the influence he has exerted on successive generations of artists. m — " vi Preface. At first sight it may seem very strange that amongst the many thousands of volumes which make up the ever-growing Dante h'terature, not one author shouM have taken up this important problem. For indeed Dante's relation to art i.e., the pictorial and plastic construction of the " Divine Comedy '—is so forcible that it does not escape the most superficial reader. -
Publius Cornelius Scipio Returns a Prisoner
Palazzo Pantini Nicchiarelli RESIDENZA D’EPOCA The Room of the ancient Roman Republic The ceiling of the room is finely frescoed according to a classic compositional scheme, in which the author has placed the five main historical-mythological scenes in a complex and rich decorative surround made up of frames and squares and populated by cupids, angels, winged demons and bizarre allegorical figures from a surprising repertoire of ornamental motifs such as rare and refined grotesques, candelabra, festoons of plants and flowers, grisaille medallions and an incredible quantity of fantastic and realistic animals. Finally, at the four corners of the ceiling, the coat of arms of the Pompilj family, the rampant lion, here inserted in a horse-head shield, can be seen. The five main scenes are work of the artist Bartolomeo Pinelli and depict a number episodes related to the history of the Roman republic. The frescoes were created at the request of Giovanni Pompilj on the basis of his personal tastes and focus on moments of intense pathos, strong emotion and inner reflection. 2 It is interesting to note that these five scenes are also present among the copper engravings made by Pinelli between 1816 and 1819 and which he himself collected and published with the Roman publisher Giovanni Scudellari in the beautiful volume: “The Roman History of Bartolomeo Pinelli” illustrated in one hundred etching plates with comments from Charles Rollin’s Histoire Romaine. This volume consists of one hundred plates engraved on copper and printed on fine paper in a larger format than previous publications, in which the author develops a language of narrative and gestural schemes creating an emphatic amplification of nineteenth-century neoclassical painting. -
Scarica Il Catalogo
GONNELLI CASA D’ASTE FIRENZE GONNELLI CASA D’ASTE 14-15 Giugno 2016 ASTA 20 Stampe e disegni XVI–XX secolo, Dipinti dell’800 ASTA 20 ASTA e del ’900 Prima sessione di vendita Via Ricasoli, 6-14/r | 50122 FIRENZE CASA D’ASTE tel +39 055 268279 fax +39 055 2396812 | www.gonnelli.it - [email protected] 14 Giugno 2016 Gonnelli Casa d’Aste è un marchio registrato da Libreria Antiquaria Gonnelli FIRENZE GONNELLI GONNELLI CASA D’ASTE Via Ricasoli, 6-14r | 50122 FIRENZE tel +39 055 268279 fax +39 055 2396812 www.gonnelli.it - [email protected] Ove non diversamente specificato tutti i testi Legenda e le immagini appartengono a Gonnelli Casa d’Aste, senza alcuna limitazione di tempo e (2): il numero fra parentesi dopo la descrizione del lotto indica la di confini. Pertanto essi non possono essere quantità fisica dei beni che lo compongono. riprodotti in alcun modo senza autorizzazio- Ove non indicato si intende che il lotto è composto da un singolo bene. ne scritta di Gonnelli Casa d’Aste. Annibale Carracci: è nostra opinione che l’opera sia eseguita In copertina particolare del lotto 142 dall’Artista Annibale Carracci [attribuito a]: è nostra opinione che l’opera sia probabilmente eseguita dall’Artista. Annibale Carracci [alla maniera di] [scuola di] [cerchia di]: l’opera per materiali, stilemi, periodo e soggetti è accostabile alla scuola dell’Autore indicato. Annibale Carracci [da]: indica che l’opera è tratta da un originale riconosciuto dell’Autore indicato, ma eseguita da Autore diverso anche, eventualmente, in periodo diverso. GONNELLI CASA D’ASTE Le misure delle opere sono espresse in millimetri altezza per base e si riferiscono alle dimensioni della matrice (lastra o pietra litografica) Direttore Generale e Banditore d’Asta quando questa sia completa, altrimenti alle dimensioni del foglio; le Marco G. -
Introducing Virgil's Aeneid
Introducing Virgil’s Aeneid About this free course This free course is an adapted extract from an Open University course. This version of the content may include video, images and interactive content that may not be optimised for your device. You can experience this free course as it was originally designed on OpenLearn, the home of free learning from The Open University: www.open.edu/openlearn/free-courses. Introducing Virgil’s Aeneid www.open.edu/openlearn/history-the-arts/introducing-virgils-aeneid/content-section-0 There you’ll also be able to track your progress via your activity record, which you can use to demonstrate your learning. Copyright © 2015 The Open University Intellectual property Unless otherwise stated, this resource is released under the terms of the Creative Commons Licence v4.0 http://creativecommons.org/licenses/by-nc-sa/4.0/deed.en_GB. Within that The Open University interprets this licence in the following way: www.open.edu/openlearn/about-openlearn/frequently-asked-questions-on-openlearn. Copyright and rights falling outside the terms of the Creative Commons Licence are retained or controlled by The Open University. Please read the full text before using any of the content. We believe the primary barrier to accessing high-quality educational experiences is cost, which is why we aim to publish as much free content as possible under an open licence. If it proves difficult to release content under our preferred Creative Commons licence (e.g. because we can’t afford or gain the clearances or find suitable alternatives), we will still release the materials for free under a personal end- user licence. -
L'improvvisatore in Genre Scenes by Foreign and Italian Artists in the 19Th
L'IDOMENEO Idomeneo (2016), n. 21, 37-62 ISSN 2038-0313 DOI 10.1285/i20380313v21p37 http://siba-ese.unisalento.it, © 2015 Università del Salento L’improvvisatore in genre scenes by foreign and Italian artists in the 19th Century1 Cristina Ghirardini* Abstract. The famous Italian improviser Maria Maddalena Morelli, known as Corilla Olimpica, inspired Madame de Staël’s Corinne ou l’Italie, and other literary works combining travel experiences with the celebration of Italian improvisers, some of them were famous all over Europe. A tradition of extemporaneus poetry existed also as a kind of folk music, not only to sing poems in ottava rima like Ludovico Ariosto’s Orlando furioso and Torquato Tasso’s Gerusalemme liberata, but also to improvise duels on various topics. In the 19th century some genre paintings and engravings depict the improvvisatori from the foreigners’ point of view, while popular drawings and engravings, like Bartolomeo Pinelli’s, allow the spread of the Italian counterpart of the cliché of the extemporaneus. This paper compares these two figurative approaches, by putting images in relationship with travel accounts, novels and musical sources, as well as with the tradition of improvised poetry attested in the Italian peninsula by the ethomusicological research. Riassunto. La famosa improvvisatrice italiana Maria Maddalena Morelli, nota come Corilla Olimpica, ispirò Corinne ou l’Italie di Madame de Staël e altre opere che combinavano esperienze di viaggio con la celebrazione degli improvvisatori italiani, alcuni dei quali famosi in tutta Europa. La tradizione della poesia estemporanea esisteva anche nell’ambito della musica popolare, non solo come canto dei poemi in ottava rima, come l’Orlando Furioso di Ariosto o la Gerusalemme Liberata di Tasso, ma anche sotto forma di improvvisazione di contrasti su vari temi. -
The Adventure of Aeneas
Greek and Roman Mythology CH 14 THE ADVENTURE OF AENEAS 授課老師:簡士捷 副教授 Chien, Shih-Chieh Associate Professor Taipei Medical University Unless noted, the course materials are licensed under Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Taiwan (CC BY-NC-SA 3.0) Aeneas defeats Turnus, by Luca Giordano, 1634–1705. The genius of Aeneas is shown ascendant, looking into the light of the future, while that of Turnus is setting, shrouded in darkness. In Trojan War, Aeneas was second only to Hector among famous heroes. He was actually the son of Venus. PART ONE: FROM TROY TO ITALY Aeneas flees burning Troy, Federico Barocci, 1598. With Venus’s help, Aeneas was able to escape from Troy with his father and little son, to sail away to a new home. Aeneas was often regarded as the real founder of Rome because Romulus and Remus, the actual founders, were born in the city his son built, in Alba Longa. Wikipedia commons Schurl50 When Aeneas set sail from Troy, many Trojans had joined him. Aeneas was told in a dream that the new home destined for them was a country far away to the west, Italy–in his days called Hesperia. Aeneas in dream Aeneas’ company encountered the Harpies just as Jason and his men had done. However, the Trojans were not as bold as the Greeks to kill these horrifying creatures, they were forced to the sea to escape Harpies. Aeneas and his Companions Fighting the Harpies 1646 - 1647 Musée du Louvre, Paris, France Painting, Oil on canvas, 155 x 218 cm "Andromache Mourning Hector" by Jacques-Louis David, 1783 To their surprise, at the next landing stop they met Hector’s wife Andromache. -
Raising Friedrich Rehberg: the Artist Behind Cain at the Bilbao Fine Arts Museum
Raising Friedrich Rehberg: the artist behind Cain at the Bilbao Fine Arts Museum Javier Novo González 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 © Archivio di Stato, Roma: fig. 22 © Bayerische Staatsgemäldesammlungen-Neue Pinakothek, München: fig. 7 © Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen: figs. 14, 15 and 16 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1 and 25 © Fürst Thurn und Taxis Zentralarchiv-Hofbibliothek: fig. 9 © Kulturstiftung DessauWörlitz: fig. 17 © National Gallery of Ireland: fig. 21 © National Maritime Museum, Greenwich, London, Herschel Collection: figs. 10, 11 and 19 © National Portrait Gallery, London: fig. 12 © Städtische Galerie Dresden – Kunstsammlung, Museen der Stadt Dresden / Franz Zadnicek: fig. 2 © Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg: figs. 4, 5 and 6 © The National Trust: fig. 23 © The Royal Collection © 2010 Her Majesty Queen Elisabeth II: fig. 20 © The Trustees of the British Museum: fig. 8 © Thorvaldsens Museum: figs. 3, 13, 18 and 24 Text published in: B’09 : Buletina = Boletín = Bulletin.